sign in sign up
<<
Home , Alan Edwards (publicist), Alan Tarney, Alan Winstanley, Bear Cage, Cool as Fuck, Dave Greenfield

Down In The Sewer (part Down In The Sewer (part two)

The Burning Up Times III Burning Up Times Issue 3 In this issue… Ronnie’s recollections...... 3 Back to Bassicks...... 5 N.I. More Heroes...... 7 Dead Choked...... 12 Soap box...... 15 Spice man...... 25 The Burning Up Times Issue three part 2 Getting it on...... 28 September 2008 Waiting for the Meninblack in ‘77...... 38 Down In The Sewer The Finchley Boys...... 40 Editorial Landmarks...... 47 Welcome to your second half of Issue Three! Force nine gale...... 52

Burning Up Times is published when it’s ready. It is available free of charge from the website and you are free to distribute it to whoever you want. Issue three, Down In The Sewer part 2, September 2008. © Planet Earth Editor: Gary Kent Production Editor: Dominic Pilgrim Webmaster: Ian Keiller Special thanks to: Arturo Bassick, , Mickey Bradley, Barry Cain, Garry Coward-Williams, Alan Edwards, Chris Gabrin, Ronnie Gurr, , Sil Willcox and to Rats and Heroes combined. Contributors: Adrian Andrews, Paul Begg, David Boyd, Bry, Owen Carne, Claireinblack, Paul Cooklin, Joe Donnelly, Paul Gunter, Scott H, Glyn Havard, Alan Hillier, Steve Howard, Gary Kent, Simon Kent, Doug Kerr, Donald MacKay, Mark McKay, Davy McLaughlin, Graeme Mullan, Paul Munden, Ian Murdock, Adam Neil, Sean O’Neill, Paulinblack, Alan. Phillpot, Adam Pigeon, Spizz, Barry Spooner, Paul Wilkinson, Brian Young. Please accept our apologies to anyone we have inadvertently left out.

2 Burning Up Times Issue 3

he set-up his fanzine with two fellow shelf-stackers, after receiving a letter that Ronnie’s recollections June from Sheila Prophet asking him to do some reviews. Freelancing for NME, he returned to London and stayed Writer Ronnie Gurr cut his teeth at NME and back in 1977. His love affair with with Tony Parsons and Julie Burchill at music began when he arrived in London that April and found himself outside a Stranglers gig. JJ their Crouch End flat – and never went to university. Ronnie recalls his Stranglers Burnel befriended him, but two years later, he found himself on his wrong side of the bass player... memories: Donald MacKay got to grips with Ronnie’s Stranglers recollections. to the . and over we played a Rattus pre- “There was no hint from the first single I just walked. I knew white label [NB. One just sold on Ebay – what this band could do – but Rattus were playing, and I’d already booked a with the word JONZ written on the back. really was extraordinary – it still is. There hostel somewhere in Tottenham Weir or Final price, £46 – Ed.] and I’m thinking aren’t many punk of that period somewhere… north London. – my first time in London and here I am you could put on continuously that would before Rattus. It was about two o’clock playing Rattus and spending the night stand up. The press wrote they’re Doorsy – gig time was at five – so I sat on the with gorgeous young punk girls dressed in – and they weren’t punk – and could play steps, knackered from travelling. Suddenly school uniforms! a bit. It stood continued listening. They The Stranglers came out so I asked for “That night was a revelation. I’d gone came at the right time, and they were a an autograph. JJ said: ‘I’ll not sign an to London in my denim flares … punk band – listen to JJ’s vocals. He may autograph – but I’ll buy you a cup of tea.’ “I left for Holland and Germany after have improved later on, but back then you He took me across to the kebab shop over that and lived on bread, cheese and milk had to take them with a pinch of salt. the road and bought me a cup of tea. We for two weeks. The Stranglers were due “They were also the first band to do just got chatting.” to play in Amsterdam, so I turned up two sell-out nights at The Nashville: they “‘If you want to leave your rucksack in one afternoon. Alan Edwards was there. obviously had a good agent. Infrastructure the dressing room,’ he said, ‘just come in.’ He’d just flown in, and was staying at was in place, and probably better balanced So I did. the best hotel in Amsterdam. His woman than Bernie Rhodes or Malcolm McLaren. “The Roundhouse was an amazing was Sheila Prophet, and they were about “I remember when The Stranglers t was some strange quirk experience – the most memorable gig. First to have dinner with the band, with the played at Glasgow Apollo in October that the Edinburgh pub I’d arranged on were – then Cherry Vanilla record company paying. Sheila was Record – they were lucky to get out alive. The Ito meet Ronnie Gurr was now empty backed by The Police – and headlining Mirror’s Reviews Editor. I said to her: ‘I bouncers just turned on them. Hugh had and boarded-up. “He’s bound to think this were The Stranglers. The whole thing could be the man to save your paper!’ I scraped the star sign off the dressing room is a set-up….” I call him and we quickly was just fantastic. They knew the tricks mentioned I wrote for a fanzine, which I door – and they took exception to that rearrange another venue. of musical dynamics, which a lot of hadn’t yet. and there was an atmosphere. They had Ronnie is dressed smart-casual and punk bands stumbled on. They were a “The gig was fantastic. But a room where they would take you for ‘a younger than I imagine. Nowadays he’s switch – they knew how to build tempo, Amsterdam’s bikers’ bars were not – doing’ before they threw you out the back also a music industry consultant. In his excitement, change key – and blooter horrible and scary – Altamont proves door. It became clear people were getting a younger days, he published a fanzine you with a rhythm section. Most punk having bikers as security is dangerous. But kicking – things were being said from the called Hanging Around after first hearing bands had yet to discover that. I wasn’t a I discovered journalists get flown about, stage. These bouncers were waiting for the Grip and reading a Stranglers gig review. journalist then. Maybe London journalists put up in the best hotels, and ate in the band afterwards – but the band gave them A trip to London leads to opportunity: sneered at that? best restaurants. ‘I’ll have some of that!’ I the slip. “You can crash at our flat,” JJ said after thought.” “So have The Stranglers been written “I was planning to hitch around Europe. the gig. out of punk history? If so – it’s outrageous. I got on a bus to London – never been “It was ’s flat in West RONNIE RETURNED TO his Edinburgh But they had this bad relationship with there before – it was Sunday. I went End Lane. Billy Idol lived there. Over home to work in a supermarket. There some journalists – is that why? The

3 Burning Up Times Issue 3

Stranglers played the bad boy card – and reformed, they would probably have come “Hugh I remember – I went round to his “When we arrived I got taken round were labelled sexist by NME. So they back at a much higher level. What? Like flat in Knightsbridge once. I knew him, by these two morons. It was intimidating became sexist – lived out the expectations. The ..? but only vaguely, but I didn’t particularly – don’t engage in conversation – I hadn’t Taking smack probably wasn’t a very punk know Jet or Dave. I met the Finchley yet read Hostage Techniques. They walked thing to do, although in retrospect, we all “There’s a thing – I have no desire to see Boys but I can’t remember their names – me round a field before being taken to the know there was a lot of heroin floating the Pistols play. Saw them at Shepherd’s but there was one who looked a bit like venue, a civic hall, one of those big 60s around. Bush Empire last time and it was JJ – one of the main ones. Almost Puerto glass things. “It’s the musicality; when you think of fucking rubbish. You may as well listen Rican-looking – always wore a Harrington. “Then I was left backstage in a room punk, your first thought isn’t musicality. to the record – stick it on iTunes and He was pleasant enough. I don’t know without a window. With me was the If they were writing about them being change the running order. And Lydon is how many there ever were at any one moron with the cut tattoo. I’m sure he’s a sexist, or writing about them being bad the very archetype of everything he once time.” nice grandfather now but his employment boys, or writing about them kidnapping hated. If somebody asked me to write prospects must have been hampered by they weren’t writing about their musicality, something about punk – it would be The And then Ronnie’s relationship with his having that tattoo. which suited them at that point in time, Stranglers. bassist pal suddenly took a downward “They were going to strip me bollock I would guess. This is just a hypothesis. “I’m sure London based writers slide. Two years on from meeting JJ at the naked and tie me to a chair. Graciously – I wouldn’t have thought that hypothesis, wouldn’t. have kind of Roundhouse for the first time, Ronnie’s sort of – they gave me a can of beer before however, would have been lost on superseded them – maybe that’s because Record Mirror review of JJ’s Euroman I was led out onto the stage. The support someone as smart as Alan Edwards in PR they split up. And the are Cometh was published. He wasn’t band Blood Donor were playing – so I terms. a quintessential B-grade punk band. impressed with the LP – and JJ wasn’t turned round and threw the can at the “If they were just written about as They also split but reformed, so there’s happy either: moron’s face and just legged it. The crowd, a band that played Doors never been a continuum, maybe that’s such as it was for the support band, parted covers they weren’t getting any press. something to do with it? “I thought Euroman was a lot of shite! I and luckily I landed on my feet and just Frankly, they would have been in the “If The Stranglers weren’t a punk think I said it was indulgent – the kind of kept running. same bag as Kilburn and the High band- then The Jam weren’t a punk tosh only an established rock star would “So I went down two flights of Roads – and Dury had to reinvent band. And The Jam were a punk band get away with. That was what he took stairs and luckily, as I’d been escorted himself. I guess they needed that other at that time. And The Clash? The first exception to. I think I had a conversation round Hemel Hempstead, I’d noticed spin on what they did, because plainly was, the second was Blue Oyster and I said I wasn’t going to write a where the police station was – round they were the most musical of those Cult and by Sandinista you didn’t know glowing review just because it’s a band I the corner from the hall. I ran – with a bands and the most accomplished. what they were. That was a great thing like – I’m a fucking critic! I’ve never felt pursuit team behind – and made it to the But actually – sitting here and saying – I still love the diversions. If being a the need to re-investigate this, frankly, police station. They took me back into that now – that would have won you punk band means slavishly being The because generally your first instincts are the hall to get my belongings but they no friends and influence at the time! New York Dolls – then they certainly your right instincts. wouldn’t charge anyone for abducting You can’t hide that, ‘cos that was self- weren’t that. “JJ said he’d do a feature, so I said me. But they did say that if I was found evident but if that’s what you made your “To me, punk is a period in time – a – fair enough – I’ll do a feature. Alan in the Thames floating – at least we’ll touchstone… There’s no question in movement – a fashion. The Stranglers Edwards arranged for me to interview JJ in know who to go after. my mind that they were, at that point in were at the heart of it – and that’s my the pub near United Artists in Mortimer “Record Mirror didn’t stop writing time, quintessentially a punk band. perspective – and they also opened a lot of Street – I don’t know its name. I went about the band – but I know Alan doors. Even in Scotland – they were one up and got chucked on the bus – and got Edwards got a letter from the editor RONNIE SAYS HE lost interest after of the first to go there. Their management taken to Hemel Hempstead, with some saying that he wouldn’t touch any of his the Battersea gig in 1978, despite the took on The Skids – they had them as right fucking psychos. One of them had a other bands if that was how he was going strippers. Writing about new up-and- support band -- and JJ was going to cut tattooed across his neck. When I tried to behave and set up journalists. And, coming bands for a well-known weekly produce their first album.” to get off I got thrown with such force of course, he denied he set it up, as he music paper must have been a diversion, against the window that the whole window would do, saying, ‘It was all the turn’s of sorts. He does, however, believe that Ronnie had little contact with the other came out. I knew then it was not worth fault!’ All the time when his PR business if The Stranglers had split up and later Stranglers: struggling. JJ was on the bus. hung on it, he didn’t admit it!

4 Burning Up Times Issue 3

Lurkers’ bassist Arturo Bassick was inspired by JJ Burnel. He was O’Connor.* You too, and your brother also in the Grip video. Alan Hillier tracks him down for a chat. Steve before he started swimming and lost a shedload of Sharon Tate! Back to Bassicks What Stranglers track sums them up? Down In The Sewer. They were great , they had a great feel too. JJ Tell us about handful of people, but it soon took off with that old green Precision bass and the when you when the album came out. It got big very amazing trebly sound that inspired loads first saw The quick. If you look at the video for Grip of us budding bassists. He was THE punk Stranglers? you will see me dancing in an old raincoat bass player of the era along with Dee Dee – I’m the one who goes right up to the Ramone. outside the Red in 1977 I’d been living camera – at the Hope & Anchor. It was in Carmarthen an invited audience only. I had 10 pints What about these other bands – The up by their PR people. for a few months over the road before the filming, but it was Clash, et al.? Were you into them too? during 1976 and the free punch Jet Black concocted that What Stranglers records are in your listening to John really done me in! I was so pissed most As with most musical movements many collection? Peel playing the of the time that I cant remember much. bands spout one thing and mean another very few punk The maddest one was at the – so for me The Clash were fakes – fakes Grip – which I got from Harlequin records that were Dagenham Dave was there. He died soon who wrote good music but all that rebel Record Shop in Broadway. out then. My after. chic, Red Brigade nonsense was as about I played it on the ancient radiogram we mates in London as dangerous as the Monkees, who were had at home which had a really heavy told me they were You recall the Finchley Boys? also put together by business men. But needle and played it non stop till black going to punk gigs and were getting into at least they didn’t make out they were powder was coming off the vinyl. I wore it The Stranglers. When I came back to I met Dennis, Pete Enter and Lester – the an embryonic band rooting for the out in a week and had to buy another one. Wandsworth, I saw them at the Nashville. guy who shagged my sister who later went people, and interested in politics and Funny enough after seeing them so many Chelsea were supporting with Billy Idol out with Toyah Wilcox. But because you change At least the Pistols, who were times and being really familiar with all the on guitar, and they split up after this [the Finchley Boys] were a real handy also manufactured in many ways, said early material, my favourite was Black And gig. Must have been October-November mob, we gave you a wide birth. Sometimes they were only in it for booze, birds and White because all the songs were so new. 1976. I loved The Stranglers right away, there were about 20 of you and you all money. I always thought The Clash were I suppose because their sound was more wore American Forces uniform, Vietnam- humourless and po- faced compared to When did you stop seeing The Stranglers? accessible to someone like me who had style, and big American military vehicles. the Pistols. My fave groups of the early been going to gigs since 1969. They had You’d all take acid and drive. Once they scene were The , The Damned, After The Rainbow gig with Climax an edge. Me, Dave Treganna, (future Sham went to the cinema to see ‘Apocalypse , Wayne County, Wire, The Band when Hugh wore the ‘Fuck’ T-shirt 69’er), Anne Poole, Steve Lees, and Sam Now’ dressed in the gear marching in like Buzzcocks, , but the worst to get the band thrown off stage. I felt Hall went to all their gigs round London you were a real troop. Pete Enter used were the Hammersmith Gorillas. used – I wanted to hear their music that – 36 times in 4 months – The Stranglers to drive Pinpoint in 1979 [Arturo’s band night not pay to see a publicity stunt to get were MY band back then. after The Lurkers]. Last time I saw him Do you remember any street gossip loads of press. Alan Anger, the publicity was on the front of the daily papers being surrounding the JJ versus Simonon bass agent, was laughing his head off that night What are your memories of these early gigs? nicked for being involved in the David fracas outside Dingwall’s? Was it a big but I was losing interest. I only saw them Martin affair [http://news.bbc.co.uk/ deal, or not? a few times after that . I was there at Ally The Finchley boys weren’t there at early onthisday/hi/dates/stories/january/14/ Pally. We supported them when I was in gigs, like at the Red Deer at Croydon. newsid_2530000/2530649.stm ] – Lester I wasn’t aware of this much at the time – 999 in 1990, but for me, Sometimes there was only me and a was too I think – who worked for Hazel probably another publicity stunt dreamt wasn’t right.

5 Burning Up Times Issue 3

I wanted to go back to the guitar and you have done anything different? started writing songs that were ‘off the wall’ for them. So after making the first 2 I thought we were trying to be different. – Shadow and Freak Show – I left We were a bit left field. The worst thing to form Pinpoint, who also worked with we did was getting hooked up with Albion. the Stranglers and 999 because of Albion. We signed publishing, management and recording deals with them. Being naïve, With punk spilling into the mainstream, I didn’t realise you should keep these 3 how did you see your future? things in separate camps back then. We didn’t make a single until we’d been with I didn’t analyse things too much back them for a year, and they didn’t try to then. I was just glad to leave my job, get break us whatsoever. They threw money pissed, get laid by posh birds and have a at us in other areas, but it was only a few laugh avoiding responsibility as much as years later when I confronted them that possible, bit like now really. I didn’t know they admitted we were signed as a tax where the scene was going and didn’t loss for the money they’d made from The really care either, I was never ambitious – I Stranglers. Music wise, I think we should didn’t take it too seriously – I just wanted have made our album right away with Vic fun. Obviously if money had come along Maile who done a great job on our 1st I wouldn’t have turned it down but I single ‘Richmond’. Instead, we did it with was lazy but I didn’t get the breaks other Martin Rushent, who I hated. He’d just people did. invested all this new micro composing technology and used us as his guinea pigs, Are you still in touch with the rest of the so our album the same sounds like Human band? League’s ‘Dare’. I saw him at the Astoria a few years ago – he was with Hazel Esso [drums] is my best mate still. He’s a O’Connor. He didn’t know me at first – it How did you get into The Lurkers didn’t matter too much if you weren’t a writer with his first book due out called had been 25 years, I was pissed and I’ve great player so I got asked to join The ‘Gods Lonely Men’. He’s also had plays also had a few pies over the years. I started I’d never played in a band before punk. Lurkers by their manager Mike Stone of at the Edinburgh Festival and some fringe going on about Pinpoint’s album and then I bought a Vox Clubman guitar when the Beggars Banquet record shop in North stuff in London to great revues. He now he twigged and made a rather hasty exit I was 16 and my brother showed me a End Road in Fulham. I’d seen them 3 goes under his real name, Pete Haynes. out of the dressing room. I think he – and few chords. He once played in a band weeks before at supporting The Nigel [bass] is doing a part time job and Albion, ruined the band and we broke up that supported when they Jam – and I thought they were bad. Mike playing in a local covers band round the after 4 gigs and one album. Some people were called the High Numbers around said they just need a new bass player. So Ruislip area of London. Pete [guitar] love ‘3rd State’. You see it on Ebay. west London. I was going to loads of they auditioned me – kicked Nigel Moore doesn’t play anymore. He looks after his gigs in the early ‘70’s – John Mayall at out because he looked like something mum and dad as a career after leaving the What happened to the others? the Albert Hall was my first. Then at out of the Eagles – and also because he band in 1992. Howard [vocals] has not the Hobbits Garden in Wimbledon and thought punk was a joke. I played my first been seen or been in contact for 25 years, Dave Allen loved all that shit Rushent the Fulham Greyhound. Also, Caravan, gig at the Hope & Anchor a few weeks We don’t know where he is. Plug [roadie] used on us and actually became his Audience, Chicken Shack, Rare Bird, later. I knew the Albion agency and so has worked for Beggars Banquet for 27 engineer on Dare, and then and Amazing Blondel – Genesis with Roxy The Lurkers ended up getting quite a few years and lives near their Wandsworth Neneh Cherry. I believe Hugh Griffiths is Music supporting in 1971 – hundreds of gigs supporting The Stranglers. office. still running his own studio in SE London. others. Johnny Winter was my teenage guitar hero. When punk came along, it Why did you leave in November 1977? What’s the Pinpoint story – and would Official Lurkers site: www.thelurkers.co.uk

6 Burning Up Times Issue 3

arranged to meet up for a coffee in a local cafe. He is still playing and currently N.I. More Heroes fronts a rockabilly/punk outfit called Graeme Mullan. The Sabrejets, but in recent years has also got together with some other ‘local punk heroes’ for a side project – ‘Shame ORTHERN IRELAND in the ’70s separate Promotions Industry working Academy’ – playing ‘special’ one-off gigs, was in the grip of The Troubles. It within Northern Ireland; tours set up to comprising a mix of classic Belfast punk Nmeant by 1977 the area became a cover the mainland had to mete out a deal with a few punk ‘standards’ thrown in for duly responded by launching straight into commercial and wasteland. with an individual promoter in Ulster, and effect. ‘Jet Boy’. Belfast was a virtual ghost town, nightlife were only a handful of venues that could Brian: “ were Belfast’s first punk With the burgeoning pub-rock and was all but non-existent – a no-go zone: cater for such acts to play. Add to this band and I even attended Stiff Little punk scene across the water, some bands security gates effectively ‘locked up’ the the problems involved in getting all their Fingers’ first gig”. He saw an advert for braved the intimidating atmosphere City Centre after 6pm, and those in search equipment across The Irish Sea, ferrying the gig and was initially attracted by the Belfast evoked. Dr. Feelgood and Eddie of entertainment never strayed too far two or more articulated lorries full of name – a Vibrator’s song title – but on And The Hot-Rods successfully played the from their local community to avoid the equipment, was a costly affair and made seeing the band that night he initially Queens University in early 1977 and it danger and hassle of security checks and the idea of playing Northern Ireland a felt somewhat let down by the band’s wasn’t long before the ‘major’ punk bands bomb scares – or worse, paramilitary very unattractive proposition to most acts. appearance, “all shoulder length hair, followed. The Clash were due to play at violence. Northern Ireland’s youth were deprived of roll-neck sweaters and flares”. However, The Ulster Hall on 20th October 1977, The big bands of the day considered live entertainment and could only read in their playing did impress him, as they ran as part of the ‘Get Out Of Control’ UK it not only commercial suicide to perform the music press about what was happening through a collection of songs from the first Tour. Had they done so, they would have in Belfast, but also a possible life or by what they saw on Clash and Stranglers’ albums. To test their been the first punk act playing in Northern threatening experience, and inevitably every Thursday night. ‘punk’ credentials Brian shouted out for a Ireland. But it didn’t go ahead, as the plug avoided playing here. There was also a The emergence of Punk Rock changed New York Dolls’ song, Jake all that. Unlike the mainland there were no record companies, rock svengalis or trendy clothes shops to cater for this emerging scene and all these new punks lived in real deprivation. A life of sectarian hatred and the highest unemployment rate in the U.K. – no prospects, no future – it was the perfect breeding ground for the punk scene to develop here. Not only was this an instantly accessible ‘scene’, as local bands formed and fanzines started up, but these bands also needed somewhere to play and through the DIY attitude attributed to punk, they sorted it out for themselves – booking hotels or clubs for private parties and hurriedly selling tickets an hour beforehand in the car-park. One of the most highly regarded of the local bands ignited by Punk was Rudi. I contacted Brian Young, singer/ guitarist and founder member, and

7 Burning Up Times Issue 3

be cancelled. Or perhaps the promoter remained coy about this alleged punk failed to pass a ‘brown envelope’ across rock behaviour, however the tag stuck the counter at City Hall.” Terri became as Time Out magazine in London often aware of the effect of the brown envelope pre-fixed later articles about Rudi with to aid the smooth passage of gigs when he ‘badly behaved punk rock teenagers from visited the Council with an extracurricular N.I.’ This is sternly disputed by Brian. payment. They said: “everything that could In 1978 Rudi had left Northern Ireland be done, would be done.” Suddenly all to try and make it in London (eventually problems disappeared regarding insurance signing, much later and after a return policies! to Belfast, with ‘s Jamming The Stranglers went on to play in label), ironically missing many of the Coleraine the following night, and so bands that did actually play here. But, became the first ‘major’ punk act to when in the capital, they did try to catch perform in Northern Ireland. From 1977 a Stranglers’ gig. Brian, “We tried to see through to the present, The Stranglers The Shakespearoes at The Red Cow in have returned to play The Province on ‘78. Unfortunately it was a sell-out and numerous occasions and so have become we found ourselves left standing outside. the most regular return After managing to hear visitors of all the punk bands. The New University of Ulster campus was the Coleraine venue, 70 miles from the capital. Few new music scene, as youths from both Belfast punks ventured was pulled hours before opened. sides of the political and religious divide that far for a gig for The reason? “Insurance problems.” A realised they actually did have a common reasons already stated. riot ensued between police, army and the standpoint – Punk. Brian who was a fan of hundreds of young, angry kids looking Two weeks later on 9th November, the band’s early releases forward to a piece of the Punk action, the The Stranglers were due to play the same – “Goodbye Toulouse legend still fresh in local punk folk-lore, venue and tickets had sold. Belfast City is a killer track” – and with Rudi immortalising the event in their Council learned from previous experience an admirer of Hugh’s song, ‘Cops’, with it’s police-aimed chant: and cancelled the gig, citing the ubiquitous guitar style, was able “SS-RUC”. Mooted to be their debut on “insurance problems”. However, as with to inform me that The the Good Vibrations label, the furor of the many other City Councils across the U.K., Stranglers were officially night was bad enough for a decision not the fear factor generated by having these “banned for life” from to release it. The local press didn’t help by ‘nasty’ punk bands playing in their town the University after heralding it a ‘punk rock may have contributed to the decision. the gig, although the riot’ – compared to the of Good Vibrations actual details were usual sectarian violence Records, himself a veteran of unknown. The NUU witnessed daily on the promotion – including a two-day Punk ENTS later also banned streets of Ulster – another and New Wave Festival, recalls the culling Rudi, stating they typical media over-reaction of the gig along with another off his own: “were worse than The to Punk Rock. But it “It may not have been solely down to the Stranglers” (mighty Terry Hooley also helped galvanise the insurance policy that caused the gig to praise indeed!!). Brian

8 Burning Up Times Issue 3

Paul and Brian seeing – the crowd were going berserk, a mass of tightly packed, undulating heads – every single person, from the front of the hall to the back, were moving to the rhythm. People were jumping from the balcony, easily a twenty foot drop, down to the floor to join in the excitement and become part of the frenzied horde. By the final encore, about a hundred members of the audience were scaling the stage and had joined the band, as a bare-chested Burnel continued singing the closing number. As the house lights came up and we prepared to depart the hall, I couldn’t the first couple of numbers, we help noticing the intricate plaster work decided a better option was to head to a all around the balcony was studded with pub for some beers”. Typical Ulstermen!! holes where we all had punched the sides By the time Black And White was to the Strangler beat. released, The Stranglers were preparing The next night the band once again to play their first Belfast concert and on played The North-West – this time the 7th September 1978, the Ulster Hall playing a smaller venue in Portrush called opened it’s doors to a sell-out crowd. Chester’s (New Arcadia). They were Although this was part of the Pubs supported by a local band from ‘up the and Clubs Tour, the venue was one of road’, Derry’s own – . It Northern Ireland’s premier showpieces has been reported that The Undertones – Led Zeppelin had debuted ‘Stairway to boasted of ‘blowing off’ the headline act Heaven’ here and it also regularly hosts at this gig!! A fact that made its way back from the Ulster Orchestra. to the band, as Mickey Bradley recalled To see The Stranglers take this stage on his Radio Ulster Punk Show (After was truly amazing – Hugh in his obligatory Midnight with Mickey Bradley – Thursday long mac and leather choker, thrashing 0:00-01:00 92-95 FM). away on his Fender Telecaster, playing When the newly reformed Undertones all the hits we had listened to avidly played a recent festival along with The on our turntables at home. JJ stage left, Stranglers, a rather irate JJ cornered biker jacket and Converse baseball boots, Mickey and Damian O’Neill about this thumping away on his beloved Precision statement. Well aware that JJ was a bass – pogoing and karate kicking his way black-belt in karate, obviously had a long throughout the set. memory and not wanting to anger the Jet and Dave situated behind – a man, Damian with a bit of quick thinking pounding backbeat and keyboard runs said: perfectly supplementing the two front “Oh, …that was Sharkey” !! men. This is the first time I had seen the band live and it only went to cement my Thanks to Terri Hooley and especially ever-growing interest in them. Situated in Brian Young, plus Sean and Joe for their the balcony, I couldn’t believe what I was excellent scans.

9 Burning Up Times Issue 3

10 Burning Up Times Issue 3

11 Burning Up Times Issue 3

rapturous noise with the vamping, echoing organ vibing away like the abominable, disfigured Dr. Phibes? Vocals mangling Dead Choked vowels into submissive venom-fodder as the chorus reverberates mantra-like, cult- His mum says he was never the same again: a Stranglers like, gang-like. Rhythmically clawing and chivvying like Cruella de Ville, scaring the epiphany by Gary Kent shit like Count Dracula, and luring like the Siren. Sinister, turned to ten. HERE ARE A THOUSAND Motown or James Browny would have Golden Lane lights switch to green. better, hipper, neater cars than a worked. But at the tail-end of 1977, Oblivious to my plight, Dad calmly palms T1963 Pontiac Tempest. Starsky something else twists and shakes, rattles the shiny grey wheel past the junctions of and Hutch’s gorgeous Gran Torino, for ‘n’ rolls. Strangles, even. Goswell Road and the chicane at St. John instance. And there must be a million Street as I sink two sweaty fist-shaped songs more suitable to soundtrack a You’re listening to Radio One… concaves into the American deckchair. drive through London too – Mustang Dissecting the East End through Hackney ‘…that’s a track called Dead Ringer Sally, Roadrunner and anything remotely Road, Dad steers the 16 feet long Yank off the forthcoming Stranglers’ album No and joins the wide one-way. It purrs softly More Heroes. You’re listening to Radio doing a serene 14 miles to the gallon at One.’ best – 14 gallons to the mile at worst. The “Productivity? Credibility? only thing green about it is the paintwork. Impossibility?” Add indelibility to that. So At Great Eastern Street, the throttle why can I recall the infinite detail of Dead opens up – Dad’s pedal to the metal – Ringer’s radio debut? Perhaps it’s because and unleashes four colossal cylinders of Crack! Bum-de-dum-de-dum… everyone knows where they were when Michigan’s finest machinery, zooming off We hit Old Street, and there’s a sonic Kennedy was shot; when the second plane like Thunderbird 2 out of Tracey Island to collision from the speakers. From West collided with the Twin Towers; when those leave the rest standing in the aftershock. End to East via a skinny chrome spike flashing blue lights throbbed out of the TV Mum’s done her Saturday overtime and comes this jagged, eerie, odd, provocative and lit up Diana’s mauled Mercedes; when we’re about to collect her, International and abrasive tune to make my heart jolt the basso-voiced RAI-UNO newsreader Rescue-style, from her Hatton Garden and my breath go cold all at once. The tells Italy of ‘la morte di Elvis Presley…’ workplace. Dad wants to be home in time BBC’s fluffy ball of fun and easy-going I am here. I always was. Such is the for the wrestling on World Of Sport. middle-of-the-road rawkanrawl suddenly impact of pivotal events: aspic-like grey It’s a hazy afternoon; a balmy breeze turns nasty, and, in my naïve mind, I’m stuff unconsciously files and cryogenically blows in as chrome fins devour white lines drawn into this dangerous psychotic, fixes and what’s left is a Formaldehyde beyond the hood. Past fly-blown flats and psychedelic dream. I’m intrigued as the feeling – a carbon copy locked in time factories, past Company’s House, past the hairs on my nape tingle erect and my heart and pickled in brine – and the resultant Glue Pot pub, approaching Old Street continues to palpitate like a piston at full synaesthetic recall. I was on a grassy roundabout. Back to the future, almost. pelt. knoll, lying in a Silver Cross pram, a Excited, I sink into the vinyl seat, We stop at a red. What is this? Who scaled down Thunderbird 2, watching piped and striped in beige, brown and are they? How did I know I’d be sucked Kennedy go by. white, like a deckchair, but the size of in with a cymbal ride, grabbed by a The Pontiac and I share the same year a park bench. The chrome knobs of the pernicious bass, pinned back by a scratchy of launch, but it’s fourteen years later radio glisten as Alan ‘Fluff’ Freeman bleats guitar and lost and locked in space in when The Stranglers enter with Dead his transatlantic disc-jockey drawl, playing piss-freezing fear? How did I know I’d Ringer ringing out loud and proud, and muzak for the masses. be hooked on this unknown classic, this proud of being poor. By rights it should

12 Burning Up Times Issue 3 have been one of the richer relations in the bag. I got it from Crescent Cameras in the First track – I Feel Like A Wog – is world of high-definition, low-fi anthems High Road in 1975 and it cost £19.75. It in full swing by the time our West Indian like Anarchy In The UK, God Save The also had a history of chewing my favourite conductor is standing over us with his Queen or Pretty Vacant? Or White Riot? tapes up. Dad’s previous dexterity in ticket machine at the ready and hand Or even Peaches? This is 1977 ferfuxaxe! splicing Super-8 home movies of Italian held out. He’s not amused, particularly Up until now, my personal vinyl beaches and Spanish bull-fights came into as he is doing one of the shitty jobs Hugh consumption never veered far from good use when he put right my snagged sings of in the song. The other passengers the charts up, and by that it’s Bowie cassette of ‘A Day At The Races’ by deftly give me the eyes, everyone can hear, and, with Sound And Vision, Heatwave and editing the tangled, mangled ferrous oxide bar me, everyone is black. Goldy’s safe, Boogie Nights, ELO with Telephone at the end. ‘Teo Torriatte (Let Us Cling he’s in between, and thankfully six foot Line, ELP fanfaring the common man, Together)’ gains a hop, skip and a jump something. “Definitely in goal – if we Showaddywaddy who were Under The – ‘Tie Your Mother Down’ too on the ever reach Holloway...” I daren’t turn the Moon Of Love, Donna Summer feeling other side, but I can’t complain. Goldy tape down or off, so I freeze and wait her love, David Soul who didn’t want me takes a chance and pulls from out of his patiently for Side One to succumb to the to give up on him, The Eagles welcoming trench coat pocket a brand new tape of No ravenous tape heads. Nothing happens. So to the Californian Hotel, Joe Tex not More Heroes. unreliable, eh? Bumping No More With No Big Fat “Please. If they’ve still got it.” “Stick it on,” he says, reaching over to That Saturday, I have my very own Woman and Andrew Gold’s Lonely Boy. “Well, Elton’s queer too – and Kiki close the tape compartment and whack up cassette to gamble a spin round the Glorious pop platters courtesy of Roach’s Dee.” the volume, all with one hand, as he wipes capstan mechanism – and it’s full of Records in Church Lane, Leytonstone I wasn’t likely to win ‘Best Son of ‘77’. the steamy window with the other. “He excitement and danger. I wonder at the –and Sidney Gold’s in the High Road But something better had changed, or so I should go in goal tonight – a dark-skinned economy of information on the tape’s in a dire emergency – and all those thought. Things I once thought were cool Peter Bonetti.” conkeroonie stringer Sex Pistols 45’s, as were cool no longer. Clothes I let my Mum well as Peaches. And yet, Dead Ringer gets buy for me were distinctly uncool, no the gong. jacket required, unless, of course, it had The Stranglers are to blame. Mum ripped pockets and lapels with a splash of says I was never the same again and three badges. My once guinea pig hairstyle and decades later her opinion hasn’t changed. centre-parting was cut short, first with When I say I’m off to Roach’s, she asks Mum’s pinking shears and later with Dad’s me to get her a copy of ‘When A Child Stanley knife. Is Born’. Urgh! But when Johnny Mathis Fringes were out – flares too – replaced sings, it’s Mum he sings to. I’ve nothing by quasi-drainpipes and holy, scribbled- against the crooked-jawed crooner, but all on jeans. Jerseys out – ripped T-shirts the same I stick a spanner in the happy in. I was proud of being poor. I was also family engine. looking forward to this forthcoming album “Do you know he’s a queer?” I called No More Heroes. quip. “Just like Russell Harty and Larry Grayson.” My parents hate Larry Grayson E AND GOLDY HAVE a five-a- with a passion. “Queer…” Dad would side football match after school growl. Mat the Michael Sobell Centre. “No he’s not – Johnny Mathis is lovely. The piss-splashed 253 bus pitches up at Why do you have to say things like that?” Cambridge Heath Road and we scramble “Okay – did you still want me to get on out of the cold winter’s night. On the that Elton John one – ‘Don’t Go Breaking top deck, I get out my two-year old Philips My Heart’?” portable cassette player from my Adidas

13 Burning Up Times Issue 3

at me, folded at the album reviews I’m in a half-nelson at first, but I manage Sweaty Betty – appears to be simmering “Read that Stranglers review. It’s a to escape to swing out a well-aimed away quietly as we walk in. Something’s great album – Rattus Norve…” forearm smash across his muscular chest. eating her up. She’s seething. Fuming, A serious bout of book chucking He’s down for the count and I am elated. verging on a Vesuvius eruption. Her cow revelry breaks out around me, leaving me No – I’m dreaming. He’s back down the eyes dart, her top lip quivers. Perspiration distracted and the article unread. And stairs to rejoin the real thing. It has to appears under her nose – a fatal attraction if you are reading this, Andy, I have to be said, you should never like the same combined with her American Tan tights apologise in advance – but I distinctly music your parents like. And they must and the folds of her brown corduroy skirt. recall how you pronounced ‘Norvegicus’ never like the music you like. No parental ‘Sixteen and sixteen make thirty-two… ’ with a hard ‘g’. So instead of sounding like approval means it’s… damn good! Suddenly she jerks into action, holding norvejicus… I know, it’s sad to hold that Saturday night, with nowhere to go, I aloft what appears to be my English thought for more than 30 years, but Andy, venture downstairs and step over leftovers exercise book. please don’t think of it as a slight. Just be from the latest friendly fire: congealed “Whose is this? happy you are in my thoughts every time gravy up the wall and cabbage on the “It should say on the front, Miss.” I say ‘Norvegicus’! After all, you were in floor. They’re watching different tellies in That’s me in for it. good company – Hugh mispronounced separate rooms. But probably the same “Kent – get up here and explain what ‘clitoris’ in Peaches! programme. The great upstairs never felt you have done to your book. It’s absolutely Such is my year zero, and just like my so good: door shut, lights off, cans on, covered in marker pen.” Philips cassette player, we can bravely and drowned in sound till dawn. As I “That’s The Stranglers, Miss.” fast forward, Tardis-like, to the tail end thump away Jet Black-style with Mum’s “What?” of 1977 when family life takes a turn for old knitting needles on an orange cushion “The Stranglers’ logo.” the worse, thanks to the Pontiac driver , I dream of getting the call one “Kent – will you get a grip on tuned into London Weekend Television day from the band. yourself?” downstairs. One minute, I’m minding my ‘Can you stand in for us? Sure, no How was she to know? The worst inner – no clues to The Stranglers’ identity own business playing 45’s, well one 45 problem…’ I pluck a JJ bass guitar with lapsus linguae imaginable – but what a are revealed. Back in the summer with double A-side called Straighten Out, and my Bullworker too, just in case they need coincidence, eh? Christmas comes early Peaches, it comes in a nondescript plain then next, my bedroom door explodes a Charles Atlas-style strongman to play for 4W as the class descends into helpless, white sleeve, with just the band logo for wide open. In storms Dad, ex-Parachute a Dead Ringer bass line. Or a jumper freeform laughter. I perform a JJ leg-cock, visuals. With the Pistols splashed on the Regiment Sergeant, fist-waving and finger- crocheted. after all, it’s what Monsieur Burnel would tabloids, it is a mimed Bowie performance poking. Sunday’s Top 20 is all ice-picks and have done – but the lady is not amused. that catches my eyes, and also some Old soldiers never die… Elmyra. The following day in school, the Neither my artwork nor actions escape unknown mystery band… “Turn that fucking shit off!” He years above and below talk Stranglers talk. impunity as I receive 50 lines – none Watching Crescent Camera’s colour screams out. “You don’t have to play it Even the goody-two-shoes prefects with of them are speed – plus after school televisions, mesmerised by the duplicitous over and over again forty times, do ya?” steel-frame glasses and hairstyles modelled detention. She got me good – all over the channels and drowned out by the traffic, I daren’t answer back – I can’t. My on Bamber Gascoigne and Trevor Francis Parquet flooring. I strain to lip-read through a quarter inch throat is boa-constricted by the same who are more at home listening to the The real choker was Goldy being at of plate glass. The down-beat, fuck hands that studiously and quietly and grown-up, sad old dated rock of Status The Stranglers’ gig at the Hope & Anchor singer with jet black hair, green bass guitar meticulously and lovingly mended my Quo, Deep Purple and Rush. Me and that night, minus me. and tight blue jeans almost swallows the Queen tape. Goldy race back to spin our Stranglers “Now you know why no one came to microphone. Panning down, the shot Neither they – nor Bowie, ELP or ELO collection, knock out JJ leg-cocks while I see us two years ago...” reveals a pair of bright red bovver boots, – ever evoked such wrath, provoked such amble along like JJ – not that I know how And that night in Upper Street is and I want them. Even earlier than that, anger and caused such a reaction. The he walks – but I just do. where my school pal is preserved in there are more signs. But I’m no good at wrestling’s on – in my room – and Dad’s But not everyone in the southpaw acetate – pickled in vinyl – calling out the playing Cluedo – Play-do, yes. Andrew Mick McManus, Giant Haystacks, Kendo grammar appreciates The Stranglers. second ‘rubbish’ at the end of ‘Tits’. I say Arendell flings a well-thumbed music rag Nagasaki and Big Daddy rolled into one. English teacher and ‘School Mam’ – – Go Buddy Go!

14 Burning Up Times Issue 3

When two Stranglers fans meet, they’re gonna talk Stranglers, so Concert shortly after Rattus band at that time cos they came out. were having hit singles and you may as well let them get on with it. So that’s what we did. they attracted quite a wide Mates Donald MacKay and David Boyd chew the fat. the full DAVE audience. It wasn’t a pure punk transcript follow, get a mug of tea and a torch...We supply the They got a lot of publicity audience. A lot of punky types from appearing on Top Of The liked them but they were quite Pops and they also got on a crossover. lot of children’s programmes, e.g., the video of 5 Minutes DAVE was show on Tiswas (ITV). They I would say the breakthrough did get a lot of publicity and single was Peaches; it wasn’t Soap box probably more than the other a punk record and the lyrics popular because of people punk bands. were, for those days, quite like playing them risqué and had to be changed DON throughout the whole of 1977. DON for radio play. That record in Punk had a huge impact – it They were also on Radio 1 In The Stranglers were a top chart particular brought them to a blew the cobwebs away.

DAVE It was on the back of the Sex Pistols. A lot of the stuff that John Peel played at that time was really obscure material, because he was so into it. He was the pioneer of the radio from the point of view of introducing punk. The Stranglers were part of this new scene.

DON John Peel pissed off his own audience because a lot of them didn’t like punk. Nowadays a radio DJ you wouldn’t be allowed to do that, but he did it because he found this new music so exciting. The Ramones was the first punk stuff he played. A lot of people seem to think that the BBC had a thing against The Stranglers but at the start that wasn’t true. The BBC was probably one of the main reasons The Stranglers got

15 Burning Up Times Issue 3

bigger audience, whereas Grip Saturday afternoons, and even sound that different to Hugh kind of came and went – it he played The Stranglers on and JJ…there was a kind of charted at 44 – but the follow occasion. He played Goodbye mystique around it, it wasn’t up single Peaches was the one Toulouse and Hanging Around, explained, I think it was that made them well known. tracks like that. He had the deliberately obscure. rock album chart and he used DON to go, “Stranglers IV Rattus DAVE What about the withdrawn Norvegicus.” Even the name of The lyrics weren’t on the first Peaches blackmail sleeve? the album was really strange; two album covers. One of my Were you aware of that at the it was an intriguing title. favourite tracks was Ugly and time? They pulled it cos the You thought, “What’s that?” It at first we couldn’t make out a lettering was too much like wasn’t obvious like “The Yes word of it! The Stranglers were the Sex Pistols’ logo. It’s Album.” At that time I didn’t kind of cutting edge from the now worth about £600. It’s the know anything about them, apart point of view that they were rarest Stranglers sleeve, and from some vague idea that they seen as bad boys, as was the it’s also one of the rarest were a “punk band”. punk scene in general on the punk single sleeves, which is back of the Sex Pistols. A lot why it’s worth so much. DAVE of parents weren’t too keen on It was an adventurous title, this and whilst The Stranglers DAVE a breed of rat, and why was weren’t “punk” over a longer No, I wasn’t aware of it at it IV? Nobody quite understood period, at this stage they were the time. that. On first hearing the album a punk band. We were aware of on John Peel the record wasn’t Rattus coming out thanks to DON out yet, so we didn’t know John Peel, so we were waiting Peaches was then released what the Rattus cover would be for it to be released. We got without a picture sleeve, it like. When it first came out I it more or less on day of had a plain white paper die- actually wasn’t sure which one release. It was the album that I’ve never been a great fan cut sleeve. was and which changed our lives, and it still of that song although the one was Jean Jacques Burnel remains my favourite because it lyrics were great. The tracks DAVE – the album cover never spelt changed the direction of where Goodbye Toulouse, London Lady I’ve got one with a peach on out who was who. Obviously you I went musically. and Hanging Around will live it… came to it but originally you with me forever. That album is didn’t know. DON just so well put together, the DON What was it like hearing it for cover, everything about it, That’s the re-issued sleeve, DON the first time? it’s just a classic. which came quite a bit later, There was an air of mystery well after it had been a hit. attached to the album. Even DAVE Following the City Hall gig we Peaches was the first time I when you first heard Rattus It was fantastic, we knew some played Rattus all the time, it ever heard The Stranglers, I it was hard to tell who was of the tracks by that time, not was never off the turntable. never heard Grip as a single, singing what, although you them all, but it still had a We played it incessantly; we so you must have been into knew the voices were kind of tremendous impact. Sometimes, didn’t ever want to reach for John Peel quite a bit more different. I remember listening straight through, it was just a different album. Another than I was early on. I used to Rattus and also No More one after the other. Funnily album that was out that we were to listen to ’s Heroes and thinking… cos even enough, I regarded Peaches as quite fond of was the first Rock Show on Radio 1 on ’s singing didn’t the most boring of the tracks, Clash album (which followed

16 Burning Up Times Issue 3

the White Riot single), and and that is why Rattus is so which was a lot of money at in the Big Shitty was played also had a good fucking great – it’s a no the time; 10,000 rarities being at the City Hall gig. I don’t album, Pure Mania. But the compromise record. OK they held onto by fans! It took me remember ever hearing Choosey difference with these bands might have speeded up some about three years to even hear Susie live in the early days. was that the playing of their tunes to suit , but the damn thing! In those days instruments wasn’t as good, as a band they were the finished it could be quite a hunt to find DON and the tunes weren’t as good. article, even on their first the record you wanted. After the City Hall gig did They were very fast paced tunes album. more punk bands come to using a similar “three chord DAVE Glasgow? wonder” approach, whereas The DAVE The free single with Rattus – Stranglers’ album had tunes Their first album is far more yeah we got that, with Peasant DAVE that were much more thought mature. in the Big Shitty also on it. There was a scene building up out. Looking back, these songs That’s two more tracks! Peasant in Glasgow. There was still a were written in 1975/76 as DON bit of a student music scene soft rock tunes. There was no It also helped that they had a (due to the Uni. gig venues), bandwagon to jump on then! If decent producer who knew what but it was mainly a working you listen to the first Clash he was doing. If you listen class scene, it was a housing album and listen to Rattus, to Rattus now it still sounds scheme scene. Rattus is a far more lasting, brilliant. The first Clash album tuneful album. In later years, doesn’t sound as good. DON The Clash became much more The Sex Pistols’ early hangers professional on albums like DAVE on like the Bromley Contingent London Calling. I went to see You’ve also got to remember, at weren’t exactly working class The Clash at the Apollo on this stage the Sex Pistols were – it was more of a pose, a 25/10/77 (their first gig in a bit of a myth. They didn’t fashion statement. Glasgow) and they were very, actually have an album out. very noisy. They were just Never Mind The Bollocks hadn’t DAVE strumming guitars very hard, been released while they were There was a much rawer support with extreme jumping around, touring and in the end it was for The Stranglers in Glasgow, but were nothing like as almost a ! and even in those days there powerful as The Stranglers on They were a mystery in that was a loyalty there. stage from the point of view of people hadn’t really heard much the playing of the instruments material from them, but they DON and the way they delivered the had this aura of going around “Glasgow is the centre of songs. causing complete bedlam. The Stranglermania” was a claim Stranglers, to some extent, made in Strangled magazine. DON were tarred with that same Because they were the first The Stranglers had been around brush while actually going name punk band that arrived in for two or three years learning round playing tunes that had Glasgow they got this loyal their craft. They were older far more depth to them. support, which they never lost and knew what they were doing. for years. They were also doing their own DON thing musically, playing what What about Choosey Susie? It DAVE they wanted to play, whether was hard to find and was going Absolutely. As the gigs the audience liked it or not, second-hand for about £10, developed, particularly into

17 Burning Up Times Issue 3

the Black and White era, I Straighten Out (Double A-side), remember having to queue at so these were two more strong 9 o’clock in the morning for songs – it wasn’t a throwaway two hours at the Apollo to get B-side. Straighten Out had tickets for the gig. Because of quite a lot of airplay as well the demand they actually put on on John Peel. an extra night at the Apollo, which was much, much bigger DON than the City Hall. I never actually heard Straighten Out on daytime Radio DON 1. They treated SBC as the Strangled magazine created a main song and it was played on sense of loyalty because it was daytime radio a lot. the fans’ magazine and it told you stuff you couldn’t read DAVE anywhere else, and it showed SBC had definite punk you that the band had other connotations lyrically and was Out, 5 Minutes, and more! these bands (Yes, Zeppelin interests…it was amazing. probably their first “punk” White Riot wasn’t on the first etc.) didn’t release singles, song. Clash album, and kept they were all album driven, DAVE Sex & Drugs & Rock & Roll off “serious album bands.” The The first one was photocopied DON his debut album! I remember singles charts were dominated and stapled together. We That song was around in early being particularly pissed off by complete rubbish. ordered it via mail order. It 1977 cos it was on the first with the Sex Pistols cos some came out every two or three John Peel session in March of their early singles were DON months. I got them all. 1977. advertised in the music papers I didn’t buy the first as “will not be on the album.” Stranglers singles partly cos DON DAVE This was a marketing ploy, I hadn’t yet been converted by They’ll be worth a few bob Even in those days people were though later they probably going to the gig. I liked them, now! After Peaches, Something surprised that Hanging Around had to put them on the album but I was no longer a singles Better Change came out as a wasn’t a single. because they didn’t have buyer, as I was more into heavy single (22/7/77). It was a enough material to fill it! The at the time, so I long hot summer and Peaches DON 7” single came into its own at was more into albums. I hadn’t and SBC seemed to be on the Back then, bands didn’t release that time. In the seventies, heard Rattus though! I went airwaves all bloody summer! many singles off an album, before punk, when you bought a back and bought the singles These singles were played a lot which is probably why Hanging single it was in a white paper later, after my first gig late on the radio – I remember Kid Around remained an album track die cut sleeve, or standard in 77. Jensen played Peaches and Go only. One of the great things record company logo sleeve. Buddy Go all the time. Then SBC about punk was that people There were virtually no picture DAVE came along and that reinforced released great singles without covers – punk brought the We certainly bought them as The Stranglers’ emergence as a necessarily putting them on picture cover to life, as an they came out cos we were band who were more than a flash an album, and often they important part of the record. waiting on the day of release. in the pan. were marketed as “not on the album.” The Stranglers had the DAVE DON DAVE free single with Rattus, and Also, before punk the singles SBC was a hit but didn’t have SBC had the additional track also Go Buddy Go, Straighten market had died a death, as big an impact as No More

18 Burning Up Times Issue 3

Heroes (released 16/9/77), other punk bands just weren’t which I think had the biggest at that standard. DAVE DAVE impact of any early Stranglers Bob Harris defined the Boring I would say of the punk bands single. An absolute classic DON Old Fart of the time! The Stranglers were on the single. Go Buddy Go on TOTP was the most. first time I’d ever seen them DON DAVE on TV. Whereas John Peel was DON No More Heroes got a huge adventurous and moved his And this is another reason amount of airplay and was on DAVE musical taste on, people like why they got really popular. TOTP. This was the appearance My lasting memory of their Bob Harris stayed exactly People like me, who at that where JJ was suggesting that appearance was JJ played the where they were and, to this time never had any conception one of them had broken wind, lead guitar and Hugh played day, he’s still playing on the that the band would ever play by waving a newspaper behind the bass. radio the same bloody boring anywhere near where I lived or someone’s arse! Or was it dry stuff! It also reinforces the I would ever get to see them, ice?! It was seen as a punk DON importance at that time of the importantly still saw them on anthem. Again I don’t think it They were on TOTP a lot. 7” single, because that’s what TOTP, as did just about every is a hugely punk track. It’s catapulted these bands onto other teenager in the country! a very good example of how DAVE TOTP. So I still knew who they were, The Stranglers differentiated A lot of bands on TOTP mimed heard them and luckily they did themselves from other bands, and it was seen as acceptable, DAVE come to my home town to play because, if you listened to the whereas The Stranglers were We used to look forward to and that was that! other punk bands, none of them clearly seen to mime, so they seeing TOTP every week. They could play a tune like No More were taking the mick out of also used to have a band on DAVE Heroes, none of them could do that. I don’t think the BBC every second week if their And they were good on TOTP. OK the guitar solos, none of them necessarily liked that but single was still rising up the they sometimes took the piss, could really sing it the way that’s what they did. charts, so if The Stranglers but other times they did play The Stranglers sang it. That charted in the Top 40 you knew the song straight, and they was a clear differentiation DON they were likely going to be on looked exciting, they were that we picked up on, that the Even though punk was becoming again in a fortnight’s time. interesting to watch. tunes that The Stranglers were really big, it was ignored delivering were quality – the by the Old Grey Whistle Test, DON DON which was the “serious” music …often with a different It was the time before the pop programme of the time. It took TV studio appearance (no video was commonplace. a long, long time before any Stranglers videos were shown on punk band came on, and that was TOTP until 5 Minutes, released DAVE , of all people, who 27/1/78). TOTP had this policy Bands used to go on and mime weren’t a particularly good of putting on a certain number to a backing track on TOTP, band. However, it’s interesting of new chart entries, so this you rarely saw anyone on video to see that, even though The policy really forced them to in 1977. Stranglers were obviously a put on new bands, and that’s quality band, Bob Harris and how the punk bands all got on DON people like that didn’t see there (except The Clash of The No More Heroes single was punk as real music. They must course!), and daytime Radio a turning point. have thought it was merely a 1was playing them as chart fad! music.

19 Burning Up Times Issue 3

DAVE Yes, and I Feel Like A Wog I took out the inner sleeve and That’s when they became also. discovered it, I said, “In The commercial Shadows is on it!” My pal said DAVE “What?!” We couldn’t believe DON That song is also interesting it, but once you’d heard it as It’s pretty incredible that because of the connotations of an album track it really had they released Rattus and No that song. It’s an anti-racial a bit of power to it, and I More Heroes within 5 months of song, and people weren’t PC actually rather like it now. each other! This reinforced in those days. It was played Now I think it’s great! their position as a band that on the radio back then but I had arrived. don’t think a song of that DON nature would get any airplay This shows how you could DAVE nowadays. It was a very good never have predicted how The They recorded some of No More opening album track. The single Stranglers were going to Heroes at the same time as they could have put School Mam No More Heroes was the defining change, because Rattus and Rattus. or English Towns on Rattus. change, that was the really big No More Heroes weren’t that I personally don’t think hit following Peaches; that different, pretty much fitting DON Rattus was built to create a was where they really started in with the punk scene at that Some people don’t rate No More particular sound, and having to establish themselves. time… Heroes but I think it’s a very since read Song By Song, it’s strong album. There are a reinforced my view that the DON DAVE couple of tracks on the second band actually could have put Their first B-side, In The I think they used punk to get side that I’m not overly keen some of the No More Heroes Shadows, what did you think of a bit of fame and get their on songs on Rattus, and they would that? albums out. However, I don’t have fitted in. think they ever wanted to be DAVE DAVE spat at, they never really It’s a very strong album. Some DON On first listening we thought wanted that scene. people would criticise English Some of No More Heroes could it was crap! Towns but I think it’s a great have gone on Rattus but other DON track, if you actually listen tracks like Dead Ringer and DON You can argue til the cows come to the lyrics and get into what Bring on the Nubiles had a That sounded like a filler, a home about who really started they are talking about, it’s more psychedelic sound, and throwaway B-side. I didn’t like punk, but The Stranglers only great. the synths changed the sound it when I first heard it on the got a record deal because they too. Even songs like No More single. were seen as a punk band (or DON Heroes were slightly more could be loosely seen as such). I think that track sounds a bit sophisticated in their sound. DAVE They would have continued to weak. Even though some of No No, at the time you’ve got struggle to get a record deal More Heroes album was recorded DAVE remember that No More Heroes cos they just didn’t fit into at the same time as Rattus it’s Some of them, but School Mam was such a great, great the pre-punk era music scene. got a different sound. could have gone on Rattus record. And we were absolutely They were real misfits and, as instead of Down in the Sewer. astonished 8 months later when Hugh suggested later, that DAVE Something Better Change could Black and White came would have been an appropriate My pal felt Rattus had a sound have gone on Rattus. was on it! When we alternative band name. This is of its own, and he couldn’t get bought Black and White – we put not to suggest that they didn’t his head round the fact that DON a pre-order in for that – when influence other bands that ended

20 Burning Up Times Issue 3

up getting signed before them! Meninblack. I also remember the I do remember certain people moving away from punk in first time hearing don’t Bring knocked them at the time, general or did they start to DAVE Harry and thinking, what the saying they weren’t punk rock. believe the press that The They got a record deal on the hell is that all about?! A lot of the punks were so Stranglers weren’t punks? back of the Sex Pistols and fucking narrow minded, they punk coming along. DON wouldn’t move away to anything DAVE It’s a bit annoying that that wasn’t punk. Black and White didn’t produce DON nowadays a lot of kids only a major hit single, although But if you had been in their know The Stranglers for Golden DAVE it did have Nice ‘n’ Sleazy, position I think you would have Brown; they don’t realise that A lot of the punks that went to which wasn’t that big a hit, gone along with it. they were once seen as a punk see The Stranglers also went to and neither was Tank/Walk on band. is a double- see bands like The Clash and By. These singles could never DAVE edged sword; although it saved Sham 69 (very big in Glasgow) be seen as punk. Course you would have… their career it’s overshadowed and The Stranglers were part of They were moving away from punk everything else they’ve done. that scene. The punks didn’t and I was happy to go with DON focus solely on The Stranglers, them because of everything But, then In The Shadows was DAVE whereas my pal and I tended about them. The music was far the first inkling that there was Following that in 78 Black and to focus on The Stranglers as superior to the other punk something else going on… White came out. You had to pre- the driving force, to us they bands, the lyrics were very order Black and White to get weren’t just another band. different – everything was DAVE the free single. different. They could play ...there was more to it. DON their instruments, the band DON After 1977, the hard core had character, they were DON Black and White was the last Stranglers fans stayed with intelligent. Whereas if you … but at the time you didn’t sort of punky album they did, them and the “punks” didn’t turn to Sham 69, they were recognise it, you just thought, though it was also moving away like them any more. But it just a bunch of arseholes! that’s a crappy B-side! from punk. shows they were seen as a punk The first time I saw the band band during 1977. live I didn’t know all their DAVE DAVE material. The second time had They didn’t have the depth of Old Codger and the free white DAVE the big build up, the whole Black and White at that stage, single tracks were fab. …for the first two albums. Rise anticipation of it, I knew all they didn’t yet make that of the Robots for example ain’t the stuff and it was fucking change in direction. DON exactly punk. amazing,

DON DON DON Over the years there developed Do you think it was Black Their live performance was this thing that every time a and White that created the so immediate, the sound was Stranglers album came out you division? phenomenal, with JJ’s bass and didn’t know what the fuck it Dave’s keyboards prominent. In was going to sound like, but it DAVE fact Dave Greenfield’s keyboards always turned out to be really One side is Hugh and the other have never sounded the same good. side is JJ. since they were nicked! They used to play No More Heroes DAVE DON like the record! They never did Like on The Raven, the track Do you think it was people after that.

21 Burning Up Times Issue 3

only one song (and it was a Strummer get one? Joe Strummer when in fact they were really rearranged !). has written far less decent just a bunch of tourists! They But the rest of their stuff is material than Hugh Cornwell then swanned off to their 5 nothing like The Doors! Any has. Why is it? It’s because Star hotel! influences only come through The Clash, for some reason, to a mild degree, and they were given a seal of approval DAVE certainly never blatantly for later albums like London Manufactured. None of them copied other bands’ styles. Calling, but they were never in could play very well! That’s why Rattus sounds so a million years as good live brilliant because it was one as The Stranglers. DON of the first, what you might It was the same with Sid call, punk albums because DON Vicious being brought into nobody was playing anything The reason I think The Clash the Sex Pistols because he like their stuff at the time. get all this credibility is looked the part, even though Later on, most of the new bands because the NME loved them and he couldn’t play the bass – simply copied the Clash! And it was more for their politics that’s what you call a boy band DAVE that’s what became the “punk” than anything else. However, approach! Malcolm McLaren put Dave’s swirling organ! The sound. So people would then having seen that Joe Strummer the band together. In contrast, other thing that was different go, “You’re not a punk band” movie, it’s clear that part The Stranglers formed and in 77 with Rattus and No More if they didn’t sound like The of his image was contrived started writing and gigging Heroes is they weren’t albums Clash! They put on the uniform because, as it shows in the without outside intervention. that were written to order, of a style already created, documentary, Joe Strummer was The DIY ethic! The Stranglers like Black and White and whereas The Stranglers created basically a hippy who turned fell foul of the NME because beyond. The material over those their own style, way before himself into a punk to become of their stance of actually two albums had been written that. famous. Now that doesn’t really admitting to liking women for mainly in 1975-76. JJ wrote Go tie in with the whole idea of biological reasons! They were Buddy Go when he was 15 or so. DAVE what The Clash were meant to also erroneously labelled The two albums consisted mainly Correct. I felt at the time be about. In fact The Clash racist for daring to utter the of the material that the band that The Clash in 1977 weren’t were put together by Bernie word Wog. The NME just didn’t was gigging about in the London really very good, and live they Rhodes – they were like a boy like them, and part of that was area, so there was a rawness were very poor in comparison to band, brought together partly perhaps down to JJ beating up about those two albums that was The Stranglers. Recently a Joe because of their looks! Paul a journalist. never repeated. Strummer film has come out, and Simenon couldn’t play the bass there was that TV show Seven at all when he was brought DAVE DON Ages of Rock: the punk episode in! The Clash were also very …and kidnapping a journalist The albums reflected what the – The Stranglers don’t get a good at posing for stylised and tying him to the Eiffel band wanted to do, the songs mention in either! photographs, a real bunch of Tower… were their own songs, in their posers! I got really pissed own style (albeit slightly DON off when they came over to DON speeded up in some cases). Why have they been written out Northern Ireland the time their A publicity stunt. But The People used to levy this lazy of punk history? gig was cancelled. They spent Clash had been idolised and comparison with the Doors the afternoon posing in front eulogised because of their because Dave Greenfield played DAVE of barbed wire and soldiers as left wing stance that the this Light My Fire type solo I can’t see a film about Hugh if they had some relevance to NME supported. I remember on Walk On By, but that was Cornwell. So why does Joe the political situation there, reading Sounds, which was

22 Burning Up Times Issue 3

“my” paper, cos Sounds was not associated with the punk people were more influenced a music paper. NME was a scene like The Clash. It’s by The Clash on the basis political paper that was more unfortunate. that they couldn’t play their interested in the lyrics than instruments well, so it was the music. OK, Joe Strummer’s DON easier to play Clash type lyrics are interesting, but Did you dress up as a punk? I songs than the more complex very political, whereas The never did. Stranglers stuff. Also, The Stranglers were not political Clash were a bit younger. The in the party political sense. DAVE Stranglers were more mature! The Stranglers were interesting No I never dressed up. I said, Hugh was in his late 20s and to me because they were writing “I’m not going to wear that!” Jet well into his 30s! about their own experiences and ideas about things that were DON DON relevant to them. They weren’t Probably one of the differences I had no idea at the time that constrained by political dogma. with the audience in Glasgow Jet was so much older – they And obviously their music was was it was hardcore; people hid that well, I was gobsmacked extremely enjoyable, original believed in punk. when the No Mercy book in the and challenging as they strove 90s revealed his true age! Age to break new ground. I don’t DAVE wasn’t an issue to me. Also a think The Clash were that I was 20, I was in a job, lot of people don’t like to musically innovative. They earning money, slightly older admit liking The Stranglers. ended up having more in common than the average fan at the It’s not cool nowadays to name- with as a gig, who would be 17ish, and check them. stadium band in the US! most of them probably weren’t earning any money. As the DAVE I think they were more likely DAVE band progressed following They became untrendy later, to be an influence than The The Stranglers did however the No More Heroes tour they but they were very trendy in Stranglers were. produce a political double were still a dangerous band 77 with the first two albums, A-side single in Shah Shah a to follow, but the danger was they became less trendy because DON Go Go / . The lyrics part of the excitement. The they started writing stuff that Who came to play in Glasgow of Shah Shah are very pertinent Stranglers kept a hardcore was much more interesting, after The Stranglers? today, they were lyrics that audience in Glasgow who darker and much better played were looking forward, “We shall realised they were quality. than just the 3 minute bang DAVE see, we shall see”, everything bang bang type of thing. The The Clash, the Pistols never about it has come true. DON influence bands like The Clash got there, the Skids… Do you think they had an had was on people that couldn’t DON influence on local bands at play the guitar, formed a band DON Do you ever hear any the time? The Skids recently and just rattled it out as a Being banned from playing, the commentators discussing Shah admitted their influence. noise. Sex Pistols were unable to Shah a Go Go nowadays?! deliver that live impact of a DAVE DON gig, because once you’ve seen a DAVE I’d have thought they would be So those people would see The band play in the flesh it makes You never hear it on the an influence, though I don’t Clash more as an influence? a hell of a difference from the radio either. Nobody talks have any evidence. I think audience perspective. This is about The Stranglers; they’re probably, unfortunately, more DAVE why, having toured before many

23 Burning Up Times Issue 3

excitement of the band and the anything…some people say quality of Rattus that kept us John Peel never liked The during 1977. moving with the band. If you’d Stranglers! actually looked at the people DAVE that turned out at the gig DAVE In many ways Jet’s the man you’d have said “Hmmm, not sure John Peel was the man that because he formed the band, and about that.” In those days you actually made The Stranglers, even drove them around in his other bands, The Stranglers didn’t have riots at concerts! he was the pioneer of punk and ice cream van! were very much seen as a punk the pioneer of bands like The band in the eyes of everyone DON Stranglers. DON who went to see them. Their So if The Stranglers had been He and Hugh were the two main history before 77 was unknown mediocre live, that would have DON guys. Jet was more like the to most, and as far as Rattus been it? He just played what he liked, business brains and kept them goes, it was definitely viewed even when Black and White came going financially in the early at the time as a punk album. DAVE out he played a full side of days. Hugh was the creative, They’d have had to be really it on air. musical leader at the start. DON crap because Rattus was so It’s like their first gig at Even Squeeze were lumped in good! If we’d gone to see DAVE the Hope ‘n’ Anchor in 1976, with and marketed as “New London I’d have walked away. I think John Peel probably when they played to one guy! Wave.” drifted when things like The Nobody knew who they were and DON Raven came out. He liked new they said we’re not going to DAVE Do you remember after the No bands, breakthrough bands. start until somebody comes in They called it punk at first More Heroes tour John Peel to watch. One guy came in, – in 77 punk hard core were playing a recording of the DON they pulled a seat over for people with safety pins through Roundhouse gig? And he played Celia & the Mutations – Mony him, bought him a pint and the their cheeks. Then the term New about 45 minutes of it on the Mony (July 77) and You Better guy watched it, loved it and Wave came along – New Wave was radio in FM stereo – I taped Believe Me (Oct 77). Were you brought his mates the following trying to soften punk. Even it. That’s what you call John aware of these singles at the week! But they were out there Squeeze used New Wave to break Peel supporting the band. time? doing it. through. New Wave was softer. That’s what became the London Ladies bootleg (minus the first DAVE DAVE DON track No More Heroes). That Yes, I knew at the time of I don’t think that can happen So there were quite a few vinyl bootleg LP cost a lot release that the backing band these days. nutters at your first gig? of money at the time. Then was The Stranglers, but I think there were the two John Peel that was through Strangled DON DAVE sessions. informing us. I couldn’t be Nowadays everything is marketed Absolute nutters! sure if John Peel played them. towards a particular type of DAVE I bought them with picture audience, and bands can’t DON Absolutely, the Roundhouse on sleeves. release something without It wasn’t just people posing. Peel was a legendary thing. the record company saying how John Peel was a huge supporter DON they’re going to handle it, and DAVE of The Stranglers. They were both re-issued later what kind of music they want We stayed at the bar! We’d by SIS – that’s when I first bands to record. It’s boring as never have gone to the front! DON heard them. Personally, I had fuck – all the bands sound the It was the drive of the People say the BBC never did never heard of these singles bloody same…

24 Burning Up Times Issue 3 Spice man Alan Edwards was the Stranglers publicity guru from 1975. Based at Albion’s office in Wandsworth, he sexed up stories to make column inches in a competitive punk market: he also initiated Strangled magazine.

rom a squat in Covent Garden in the Absolutely, I had a brilliant training from late 70s, Alan Edwards ran Modern Keith Altham and the experience gained FPublicity before joining Ian Grant through working on a massive rock act managing Big Country and . like The Who helped enormously. These days, he employs 60 staff at his Outside Organisation – handling publicity When did you start working with The for the biggest stars in show business Stranglers? – and the . Mantheylovetohate posed Stranglers Ian got me hired by Albion Agency – I questions to the PR guru his former think they’d just changed their name from Modern colleague, Barry Cain, describes the Stranglers. It must have as: “the most sincere, and unwittingly, the been around 1975. shrewdest man in the music business.” You also knew the Bromley Contingent (Sex Pistols equivalent of the Finchley How did you first get into PR? It was Boys)? under Keith Altham, wasn’t it? I knew Billy Idol vaguely through school, That’s right. I went to review The Who and my girlfriend worked in a café in at Bingley Hall in Stafford. Keith offered Covent Garden called Tuttons with me a job in PR, which was £25 a week. It Siouxsie Sioux. sounded good then! Did any of The Stranglers resent your You were good friends with Ian Grant. friendship with them? How did you first meet him? Maybe a little bit with Billy, but I don’t I met him when I was at school. Ian used remember it being an issue. to organise gigs on the South Coast and I was a regular attendee. With press hunger for the most outrageous stories, did The Stranglers’ You formed Modern Publicity. Did behaviour help the publicity machine? working with some of the major bands of the era help you to go out on your own? Yes, their behaviour added column inches,

25 Burning Up Times Issue 3 but it still needed to be pushed hard. My Was Strangled fanzine a good PR tool? experience with The Who etc. helped me get into the more mainstream areas of the I saw it more as PR positioning and Tony media. [Moon] was looking at it as more of fanzine I think. One of the most publicised controversial events of the early punk era was the Did you envisage SIS running for 20 Sex Pistols’ Bill Grundy furore. Would years & Strangled reaching 50 or so your job have been made easier if the issues? Stranglers had had an equivalent? To be honest we weren’t looking that far No, it might have been counter productive ahead. After all, the whole punk scene and distracted from the quality of the was new and we were partly making it up music. as we went along.

What were the biggest turning points in It seems that whilst the band were the struggle to publicise The Stranglers? overseas, the publicity machine kept ticking over with reports of Hell’s Angels We set ourselves a strategy for consistent in Amsterdam, riots in Portugal, police and constructive publicity, not a big band chases in Australia & feminist protests in approach like the Pistols, so there was no the States. How important was it to keep specific turning point. the band’s name in the papers while they were away? To what extent were stories exaggerated to make them more inviting to the It was vital to keep the bands profile sensationalist tabloid press? good all the time as it was a competitive situation with lots of wannabe punk The stories weren’t exactly under played, bands trying to steal a bit of the Stranglers but essentially all of them had a basis of deserved glory. Also, some of the stories fact. were so amazing they just had to see the light of day! Were you working with other bands at the time? In November 1977, a press beano at the legendary Paradiso Club in Amsterdam The Buzzcocks, & The went ahead. Did the antics at the gigs Heartbreakers and Blondie overstep the mark?

You must have organised the Rattus It was driven by the Amsterdam Hell’s launch at the Water Rat pub in King’s Angels and did get a bit scary especially Road with the rodent-themed menu, like for me when one of them put a gun to my Ratatouille. Do you recall that event? head to play Russian roulette with me! I admit I was a bit nervous but I quickly got Only a distant memory to be honest. Good a grip on myself. I don’t think the band fun – more pub rock in vibe than punk had much alternative but to go with the rock. flow that night! It was an amazing night –

26 Burning Up Times Issue 3

maybe not ‘nice’ but definitely ‘sleazy’! It caused a lot of controversy and made the centre pages of one tabloid – ‘’! But at the time, I remember waiting ‘Five Minutes’ and deciding it wasn’t safe to be ‘Hanging Around’ here! A good time to ‘Walk On By’ shall we say…

How quickly did the punk phenomenon become yesterday’s news rather than today’s headlines?

The excitement wore off media wise after 2 or 3 years, but The Stranglers were already moving into the mainstream so this wasn’t much of a concern regarding their PR.

After the band allegedly kidnapped and attacked Ronnie Gurr, Deanne Pearson and , surely many potential reviewers were put off criticising the band? was paralytic and ended up not being allowed to board the flight home. Geezers It didn’t make much difference. It all and geysers, alcohol and LSD landscapes added to the myth – although I wasn’t aware in advance and wouldn’t have Did the band’s sensational refusal to play knowingly contributed to this approach to the Rock Goes To College gig in ’78 make media relations! them pariahs for the BBC?

In retrospect, was physically attacking key I honestly can’t remember the journalists the worst possible career move repercussions of the bands actions. in the long run? When did you stop doing the publicity for I’m not sure how much it hindered the Stranglers & why? the band as they weren’t exactly media darlings, but it was regrettable for sure. I stopped doing their PR in the mid- Eighties but I can’t recall the reason Do you have any recollections of 1978’s why. Maybe it was because my partner launch party for Black & White in Ian wasn’t involved in the management Iceland? anymore? There was no dramatic end. It just ran out of steam. Bizarre – endless drink. Icelanders mainly female. A journalist from The Times who Thanks to Alan, and his PA, Sarah.

27 Burning Up Times Issue 3

EOS and Dictaphone. Martin’s leafy hamlet has two pubs and I pull up by the first as he calls up my mobile, and directs me to the other one where he’s at. I Martin Rushent laid down The spot him standing outside in summer shorts and sandals Stranglers’ urgent live sound for three hugely successful albums and black T-shirt – in honour – and then walked out. Gary Kent tracked down the man onceavant- re- of the Meninblack? I park ferred to as “the fifth Strangler” garde outfit with Sound up round the back and he’s Of The Crowd, Love Action, Open Your already inside getting served. artin Rushent has enjoyed an Heart and No. 1 hit, Don’t You Want Me?. “What’ll you have?” illustrious career. Cutting his Championing the remix album, Rushent he asks, with hand Mteeth in studio engineering, he reworked the tracks into Love And outstretched. “Sunday turned producer and sonically snared a Dancing in 1982, also receiving a BRIT lunch is great here – you’ve newly-signed Stranglers for their top- award that year for Best British Producer. come a long way… and I selling albums, Rattus Norvegicus, No In the Dare follow-up, he exits and songs insist.” This warm, larger- More Heroes and Black And White. In get mothballed. Like The Stranglers, than-life character has a a prolific 15-month epoch that spawned Human League never managed to repeat passion split between high- six Top 20 hits – including Peaches, the success they enjoyed with Martin octane dance music, and Something Better Change, No More Rushent in the chair. But is he is prima wife Ceri and his family. Heroes and Five Minutes – it seemed like donna or musical prodigy? Opinionated at times a pop marriage made in heaven. Even as Back in wintry 2005, I arranged and animated, particularly on the subject my early as 1977, JJ Burnel admitted to NME: numerous interviews with the man and his of The Stranglers – where he refuses to market research, I won’t “They all knock us, but they all want to tight schedule, and each got apologetically accept a sans-Hugh line-up. He’s also a be offended. I won’t kick your head in, use our producer.” postponed. Topping it all, when the final bon vivant who loves his local: “bloody honest.” But as 1978 drew to a close, the date seemed like it’s going ahead on an good pub this, and they have bands here The room is searing and rammed with relationship floundered on the new arctic Sunday my car dumped a pool too.” We sup West Berkshire’s finest outboard racks. Martin’s spiritual home material. Dismissing their songs, Rushent of black engine oil on my snow-swept Good Old Boy ale and Martin sparks up allows him to be Merlinesque as he darts walked out on The Stranglers never to driveway. a Camel, or 20. Post-interview he is once at the disc drives to the right, flicks faders return. “They were losing the plot…”. I might have been forgiven for fearing more insistent, and invites me back to and clicks icons up on the widescreen Neither Hugh nor JJ have uttered a this as the curse of the Meninblack – the his angular, rented home next door to a monitor, magicking clean four-to-the- good word about him since. The band song, incidentally, that became the last construction site where his previous abode floor beats to yesteryear’s electronica. went on to record their fanciful Raven straw at Eden in ’78. Perhaps my car was once existed. Upstairs in his £12,000 Production-wise, they are all flawless, even and Meninblack albums with TW’s old losing the plot? Or was it me? home recording studio – “cost a lot less the monitor mixes. We then escape to the in-house engineer Alan Winstanley. than Genetics – and it’s a lot better,” we garden where polishes off a bottle of red Meanwhile, Rushent built a state-of-the-art wo years later, enthused by the sit in office chairs as he plays a catchy self- with a cigar. But it’s in Martin’s red-walled recording studio at his Berkshire sprawl Issue 3 theme, I email Rushent, but penned Leaguesque pop song with Ceri on country pub, the sound man in Martin costing over a million. It was at Genetic Treceive no reply. Googling reveals vocals. Other work in progress includes first appears: as I set up the mic, he grabs Sound he focused on , his MySpace to which I send a message remixing Dare in time for Christmas, the recorder while suggesting the superior recording , Visage and a newly right away, expecting nothing. I’m shocked and he conjures up mixing desk monitor Audiotraks alternative and switches off reshuffled Human League: Dare took a when I see a reply in my inbox, and the remixes of These Are The Things That voice-activation and checks for levels. year to nail, but resulted in unmitigated following Sunday, I am in Berkshire, Dreams Are Made Of. “Testing… testing… one, two… Okay, commercial success for Sheffield’s electro carbon footprinting with road atlas, Canon “What do you think?” he asks, “ you’re that should work. Where d’ya wanna start?”

28 Burning Up Times Issue 3

He was an incredibly talented bloke. How did you come to produce The When we did Get It On, we turned up Stranglers? at the studio – I was engineering, was producing – all the band was I did a lot of engineering work with there, and I said right, what we doing? , and the guy who Marc goes: I don’t know. I haven’t written eventually took over in charge of anything. Give me ten minutes and I’ll production was the managing director write something. And he came up with the of United Artists Records, Martin Davis, riff, worked the band up for an hour, got who offered me a job. He said: come and an arrangement sorted out, gave a guide join the A&R department, and I said to vocal to it, the chorus came, got the track him I was getting fed up with engineering down, spent fifteen minutes writing the after five, maybe six years of it and I’ve lyrics, sang it, and the following day we got a lot more to offer. So I got this got the cellos in and stuff, I mean the guy job with UA working and met Andrew just poured out with it. Lauder who to me, was the greatest A&R guy ever. He had incredibly good taste Going into a studio without a song and could spot a hit band from forty doesn’t work for most bands, does it? miles. But – by his own admission, the studio was a completely alien world to It does if you’re a brilliant writer like Marc him. He didn’t really understand what Bolan – he was special. went on. He knew a good band when he heard them and he knew a good tune Where did you grow up and what music then I got a job in a chemical place and I Did you hang out with him? but getting it from there onto vinyl – he were you into? hated it – it was all very corporate. I gave didn’t know how the fuck to do it. So that up and I said to my dad that I wanna In the studio, not hanging out outside, no. the plan was he could find the acts and I In the 1950’s, in Enfield, Middlesex. I was be in the music business. So he said I We got to know each other really well, could produce them. The very first day I born in 1948. The first music I was really should come and work for him first as a but the thing is, when you’re working in went in there, he said: let me show you aware of was Elvis, , Cliff second-hand car salesman in Tottenham, the studio for hours and hours you get the things I’m sort of a bit interested Richard & the Shadows, Everly Brothers, north London. I learned a lot from that very close indeed. It’s not like a working in at the moment and he played me a Connie Francis, all that mid to late 50’s before I got a job as a trainee sound relationship because you’re making music demo of ‘Grip’. I went: fucking hell, stuff. But I was also into Frank Sinatra and engineer at Advision. I started off as a together, you’re partying together, there’s that’s really good. Who are they? He all the big bands because my dad played a tape-op and went from there. Several years loads of booze, loads of marijuana and said: The Stranglers – you’ve heard lot of that stuff. It gave me a really good later as an engineer, I became pretty damn goodness knows what else. If you don’t of this underground movement called musical grounding I think, because it was good at it. Advision engineers were the have that atmosphere in the studio then Punk – well they’re not really a Punk a mixture of quality, quite complex stuff of best sound engineers of all time, really. I it’s not going to communicate through the band but on the peripheries of it. I said the big bands and rock ‘n’ roll. As I got became one of the first freelance engineers music. Most people who wanna listen to it doesn’t fucking matter what they are older – , Stones, Kinks, Small because so many people wanted to work that music want to have a good time, so if called, that tracks is fucking amazing. Faces – Tamla Motown was a massive with me; they couldn’t get into Advision, you have a shit time making it, it’s gonna What are they like live? I said. And influence on me – Marvin Gaye, Otis so they’d say come and do an album at come out the other end. they were even better. But Andrew was Redding, Bob & Earl… Olympic or wherever. I engineered for umming and arring over The Stranglers. countless people like T Rex, Yes, the cast He was frightened that if he signed them, And you wanted to get into the studio of Jesus Christ Superstar, ELP, it goes on the label would be seen as not the real yourself? and on. Punk label and we’d missed that boat. A lot of press were saying they’re just a I was in a band when I was at school and What was like? rock band who was trying to jump on

29 Burning Up Times Issue 3 the bandwagon. They’re the Doors MkII told me their original demos were done And Doug Bennett? – quite a lot of derogatory stuff being there. It was really weird I’d picked the spouted out. same studio. Oh yes – a young lad engineering at Olympic Studios. Such a sweet guy, about Wasn’t there some truth in that? Did you see them play live first? 25. Brilliant engineer. We couldn’t get into TW to mix Peaches, so we did it Well I hadn’t seen a proper Punk band at Andrew then dragged me down the Red at Olympic with Doug and we needed it that time. I mean, the thing about working Cow in Hammersmith to see them and I quickly. in a studio all of the time is that you don’t was just blown away. I said to him: this get out much, you know? I’d heard about band are unbelievable! The energy coming For the single or the album? Punk, and I’d heard the Sex Pistols, I’d from that stage was phenomenal. The bass heard of the Damned – that was another player’s just unique – and I couldn’t figure Whichever ended up on the album thing I got involved in. But I hadn’t seen out how Dave could play the keyboard and any of them. drink a can of Special Brew at the same It’s the same mix? time, and still get this noise coming out Why TW? was mind-blowing. So me and Andrew Same mix. We had a wonderful time met the following morning and I said: sign mixing Peaches. We were all sat there with During this period, I heard a tape of a ‘em – I’m telling you, just sign ‘em! If it huge fucking grins because it was going band who had recorded at TW and it all goes tits up, it’s not just your fault, it’s to be a smash. Sometimes you can hear a sounded good. It was a bit rough, but the mine as well. But I’m telling you, sign song and make it and know you’re on a sound was good. The band was called ‘em! They could be the most successful winner. It’s great, you know? So you go Trickster, a standard rock band of the band we’ve signed to date without a the extra mile for it. Peaches is the one I time, but there was just something about doubt. No question. He said: well, where remember. the sound I thought was really good. are you gonna record them? I said: I’m gonna take them to that TW Studios. Would you say your production was like Who did TW belong to – and what did He said: Well have you checked it out a fifth instrument? I mean, if someone the initials stand for? yet? I said: No, I don’t need to. That is else produced Peaches, would it still have the perfect sound. But before I took The been a hit? Fucked if I know! It was owned by a Stranglers in there, I did a little project couple of guys who had a launderette down there and it went really well. I met I don’t know. No one ever knows. I mean upstairs and a little music shop. I think Alan Winstanley there… – a big decision is made by a myriad of one of them was into music, so they made little ones, depending on the problems you money on the launderette and built a little At the time he was TW’s in-house encounter. So as long as you make all the Trident board studio. I mean – I knew them – I met them engineer, wasn’t he? decisions correctly, then the big decision loads of times but I can’t remember their is going to work. So I must have made A bit of a dump, really. Very fucking names. It ain’t there no more – it’s Yeah, young guy. Very relaxed, did all the right little decisions because the simple gear – a little Trident board, can’t all been redeveloped. I was heading that whatever I asked him to do and no ego on record came out and everyone loved it. remember what model… 3M I think it way to do something or other, and the him and we got on really well. Nice guy to It’s still used to this day. Now, somebody was, 24 track. whole building has gone. work with. else might have done it and made all the right decision and it may not have sounded What’s a Trident board? The Stranglers recorded their 1975 Alan Tarney’s name also pops up at TW. like my version. So – in answer to your demos at the same studio... Did he work there? question – the answer is… I don’t know! A Trident – a very cheap one. The basic one. The EQ was Yeah – but I didn’t know that at the time. Don’t know. I think he was involved in the What was your first impression of TW like ‘treble, middle and bass’ – that’s That was really ironic. No one had ever first project I did there. Alan would know. Studio? all it had. 3M 24 track, I think it was

30 Burning Up Times Issue 3

3M. involved… don’t know what happened. plastic or picture disc or whatever, I How did the session go? wasn’t involved with that. My job was Recording Grip, what was your brief as a I read that your plan was to record Grip making music and mixing the tunes and I said to Hugh: we’ve solved the guitar producer? and let Alan Winstanley produce the finishing the record. thing, so we’ll get the big guitar sound album? and play everything just the once – exactly Grip and a B side. What did we do for the What were you writing on the TW master how he would playing live. Sing a guide B side? London Lady, that’s right. Andrew No, no. Andrew said: we need something tapes? vocal, if the guide vocals are good, we’ll and I had talked about. He said: look – we out quick, go back in. Do it, let’s get it use them. If not you’ll have to do them don’t want a big production job on this. out. Keep the market interested. Right – Just ‘The Stranglers 1st album’. again. I seem to remember, 50% of the We just want to capture them the way they there’s a record out by The Stranglers on time we used the guide vocal as it had all are. I said: I absolutely agree with you. a major label – let’s go back in, that sort How long after Grip did you record the energy, you know? And you do three You know, I just wanna capture that live of concept. It was more a marketing thing Rattus? takes of each song, and that’s it. You don’t spirit and the sound that they make. than anything else. The big one was doing do anymore than that, and then we pick the album. Don’t know but it was cold! We had to get the best one of the three. How did that first session go? the heaters into the control room. Christ it Rattus was going to be called Dead On was fucking cold. Was that because of time constraints? It all went fine. There was a discussion Arrival, wasn’t it? about… I got Hugh to double track the Cold might have affected Dave’s organ... No – just so we didn’t get into studioitis. guitar on Grip which he didn’t like. He Oh was it? I never knew that! If I’d Was it problematic? You know, doing the same song fifty said they only had one guitar in the band, been told that I would have said that’s times until you kick the guts out of it so there should only be one guitar. I said crap. Andrew was probably more Of course. Dave had a Hammond L100 to make it perfect is all an illusion. The we’re just gonna have to get a bigger involved at that level. I mean, he was and a Clavichord. Couple of the keys on main thing is capturing the spirit and the guitar sound. I mean Hugh was one of great, he protected me from anything the Clavichord didn’t work, so that may energy. If there’s a couple of bummers in the best guitarists I ever worked with – his that wasn’t relevant to what I was doing have been the decider about what key it, no one’s gonna fucking notice because lead guitar was stunning. It just didn’t which was basically making a record. the songs were in! The big problem was you’re rolling with the track. It’s gonna sound like anyone else. I mean, most What it was gonna be called, freebies, when the Mini-Moog turned up, trying sound so great they won’t even notice that guitarists I’d worked with up until then whther it was gonna be see-thru to keep fucking thing in tune. It was you’ve dropped a beat or whatever. As were either bordering on Eric Clapton or a pain in the arse. At the time I hated it happened, they virtually played them Jeff Beck, or whatever. Hugh sounded like . I arrived and saw the Moog perfectly every time. Sometimes it was a more like a modern, more manic, wild there and thought: Oh no! ‘Cos I had hard to pick. Like, fucking hell, here’s . Melodic, nothing flash, worked with them before, on Jeff Wayne’s three takes – they’re all blistering – how but he was a great rhythm player. He just stuff, War of the Worlds and all that. In do you pick one? I can remember tossing bashed away at it. So we eventually got a those days, it was analogue. There were a coin with Alan several times and saying: bigger guitar sound between us by using no digital clocks. They were analogue which one do we use? Urgh, dunno. a couple of mics and put it out stereo to oscillators. Any number of things would They’ve gone for a beer round the pub. make it sound broader so he only ever had affect them, quirks in the system, ghosts Okay let’s toss a coin. Okay, is it one or to play one guitar on everything else we in the machine, Gremlins, anything, they two? Right, it’s one. Now toss between did. So we did Grip which snuck into the just wouldn’t stay in tune. Even making one and three. Okay, it’s three. We’re Top 50. , I was using a Roland using three. I mean, they were all so good. programmed from the Micro- They were the tightest band I ever took in Apparently it should have achieved a Composer we bought before, and it did the studio. They were shit hot. higher place had sales not been accredited it all the time. Before every take you’d to another artist? have to tune the whole thing up. Fucking How did you find them as people? nightmare. Yeah, and all that bollocks… not Jet Black was one of the nicest blokes I

Martin in 1981 31 Burning Up Times Issue 3 ever met. And a brilliant drummer. His that. If things started getting out of hand I studio. The last thing you need to do out and easy to work with. Those three were contribution to The Stranglers is just not could be really fucking aggressive. I could of hours was go out with them because all easy to work with. JJ… Well, we all recognised. He was a rock solid drummer be a real fucking arsehole. I’d go: you you’re hanging out with them most of the had big egos in those days. I mean we with a very light touch but laid the groove lot – out now… I probably did it all the day. My job was to make their dream a were burgeoning rock stars and famous down. He wasn’t one of those drummers time. We’re making a record, you need a reality. record producers. We were young, we had who were ‘all arms’ – Jet made it the least nice relaxed party atmosphere but you are money in our pockets – not lots, but a lot work he could physically, but got a great there to come out with a record. more than most people our age. We had noise. So he could play all night. Jet was a birds chasing us, you know, it was all that bit of a Charlie Watts, really. I rate him up Do you remember the Finchley Boys old bollocks. But there’s egos and there’s in that sort of class. He must have some there too? JJ’s bass really cuts through on all those egos. He was just a pain in the fucking sort of jazz background almost certainly 1977-78 tracks, but not so much after arse. Great bass player: if you ask me for a – just his style of playing. He was a very They were gentlemen. They were a bit that? professional evaluation of him – fantastic light player and a from a jazz background, wild, but we all were. I never felt like I bass player – original sound, great bass laying the groove, keeps going all night… wished they weren’t there, and they’re in Never got it again. That’s what I don’t player. One of the best I’ve ever worked my way. They added to the whole vibe of understand. Alan Winstanley sat His snare sounds a little heavier on the the thing. I can’t remember any individual beside me through three albums and Heroes sessions, and the band sounded Finchley Boy, I remember them en mass. knew how to get Jean Jacques bass heavier too – was that a conscious There was no more than 3 or 4 at any one sound. He knew the technique of how decision? time, but they all seemed like fun guys. it had to be done… They were respectful. I remember if I No. Maybe Jet decided to give it a bit said: right, we’re doing a take, can we all Can you remember the set-up? more. We’d already recorded half the sit down and be quiet, the whole room second album in the Rattus sessions. went quiet. So they seemed like a good No. I can’t remember how I did it. We’d just carried on recording, so all we crowd to me. They must be really old now, There was a formula how to get Jean had to do top up No More Heroes, which with kids. Well, tell the Finchley Boys I Jacques bass to sound like that on I still love to this day. And Something send my love and have fond memories of record. And yet on Raven, he failed, Better Change is Jean Jacques’ nadir. The them. he forgot it, yet he knew what had to best thing he ever did. There was more be done. equipment.. the sound was great. I know one of them – Alan Hillier – will be well chuffed. JJ wasn’t pleased with the bass sound, was he? He called you up at home Well, tell Alan to send me an email or complaining? something. Come and see me after all Dagenham Dave was thrown out of the these years. He was displeased with everything. Rattus session, wasn’t he? I’ll treat JJ as a separate bit when I Did you hang out with any of the band? come to him. Moving on from Jet – Dagenham Dave died didn’t he? And they Dave Greenfield, lovely guy. Bit odd, wrote the tune about him. I loved that Only Hugh sometimes. We’d walk up the really. Into Black Magic and odd tune. Dag Dave was a nice guy. But instead road to see a band. I used to hang out a things, very nice guy, lovely bloke. of sitting there quietly, behaving himself, bit with Dave and his wife round their In his fur coat, pipe, very quiet and he was started being disruptive, getting in place and have something to eat and stuff. just got on with what he had to do. the way and getting very loud. So I said I’ve never got too close to any band I’ve He liked jokes. Got on very well to him: mate – you got to leave now. And ever worked with, whether that’s a flaw with him. Hugh? Got on brilliantly then someone took him out. I was being in me or professionalism at work without with Hugh. Lovely guy, funny. Quite a bit of an arsehole. I’ve always been like realising it? You become very close in the serious too, when he needed to be,

32 Burning Up Times Issue 3

was huge, he was still fucking moaning it Yeah I think it was the bass. Ha! And walked back into the control room with a was all rubbish – that I didn’t know what also, he felt the synthesizer solo was too Cheshire Cat grin and goes: How’s the mix I was doing, that I never captured The loud. So anyway, I went out there and did going? So we played him the tape! Stranglers sound properly. Oh shut up, the best I possibly could, got it back to Jean. Just shut the fuck up. and everybody in England said What happened next? the TW mix was better. And that’s what But the early sound was great. went out – not the American mix. I think Well, the girl walked in about thirty Jean was basically insecure and he had to seconds into the tape while he was still Well, I thought I knew what I was doing. make his mark on everything. critically listening, and she heard her I did the best I could. Everyone else was own voice. She knew exactly, and she happy. The only person that was never He was the one speaking, but was he started laughing and looked at me and happy was Jean. I mean, Nice ‘n’ Sleazy, speaking on behalf of the band and acting said: did you tape that? I went: yeah. they were in America at the time. I sent in their best interests? She thought it was hysterical. But then those mixes over of Nice ‘n’ Sleazy and JJ said: Stop the tape, stop the tape now. he said it’s not right, you’re gonna have to I don’t know. Maybe he was. Maybe he Gimme the tape, gimme the tape. Martin, mix it with me there. So I flew all the way felt he was. A lot of arrogant, insecure that was a real bummer thing to do. I over to New York, remixed it, brought it people, they think they’re doing the right said: It wasn’t my idea – it was Hugh’s. back and I just let them get on with it. thing. In fact, they’re convinced of it and Everyone was denying it was their idea. the fact they might be acting for the wrong Hugh went: no, it was Jet’s idea. He Why did you fly to New York? You could motives never occurs to them. That’s never knew whose idea it was. Gimme have said, fuck off… part of being arrogant, innit? You never that tape, he said, and smashed it up question yourself. with his boot. But what I didn’t know, Yeah, the record company said: well, you’d and none of us knew, was the little Tape better go. I thought: have a week in New So when you did the Sleazy remix, were Op working with us was running two York, practically an evenings work and run the rest of the band there? fucking machines! around with a few mates. I do remember saying to Jean, if I come to New York, Oh yeah. There’s a very funny story which Who was he? I’ll be out there for a week, you know, I’m not sure I should tell you. Maybe you got to allow for the fact that the first you’ve already heard it, about the bird in I dunno. Can’t remember his name. He day I gotta book us into the studio, the the booth? was a little young lad. Suddenly it’s all second day… the following day you may over the NME gossip page about a tape not be happy about the fourth day… so Who was she? circulating in London of Jean Jacques I’m likely to be out there the entire week, performing – and under par! So Jean so you’re paying for it all. That’s the way I don’t know. Some slag JJ pulled… you phoned me up and said: you bastard. I your deal works. So are you sure about know the story then? said: Jean – it’s nothing to do with me. As this? Because otherwise it’s gonna cost you far as I’m concerned there was one tape £3,000 or whatever the bill is gonna be, You mean the tape of JJ doing the dirty and you crushed it up under your boot, with. As a bloke? I didn’t like him at all – and is it worth it for the minor changes deed in the studio? and that’s it. If there was another one and I don’t think he liked me very much which you think are essential? made it, was without my knowledge. He either! I mean, he did everything he could Yes, and she had a period! And his said: you bastard – how could you do it? to make anyone’s life difficult. Fucked What were the minor changes? comment at the end of it afterwards was: I said: I didn’t do it, Jean. It was sweet me off, pissed me off. His attitude pissed my God – it’s like World War 3 in here! revenge. me off. Nothing was ever right, I don’t Can’t fucking remember! [LOL] And she responded by saying: Is know what his problem was. Even when that it, JJ? I heard you were a bit good at There’s quite a lot of friction between you Rattus was huge and No More Heroes The bass sound maybe? this. Is that it? Yeah babe, he says and he and JJ. Why was that?

33 Burning Up Times Issue 3

The Stranglers were in the top two or badly with a young lady. It fucked me off three acts I ever worked with in my because it happened to be my secretary. I career, and I had a wonderful time with didn’t take very kindly to that. them and great memories. Jet was such a laugh. And for 95% of the time I got Behaved badly..? on great with Jean and we had a right crack. But sometimes he could be a right Yeah – he made sexual advances to her pain in the fucking bum. I don’t hold it which were refused. I’m not suggesting, against him. I’ve seen him several times well, he wouldn’t take no for an answer for since and he’s matured and he’s quite a quite some period of time which caused her decent person. He was just a young dude, a severe degree of stress during subsequent you know. Trying to adjust to things that meetings. It fucked me off as it wasn’t very were happening that was a bit mind- professional… there are limits. Also I’d boggling when suddenly you’re elevated to been thinking I’m running out of steam superstardom. with The Stranglers. I couldn’t think of any new things to do. I detected that they were Fans didn’t always know who was singing running out of steam a bit in the writing what on the first two albums. Hugh told department. All the original songs they’d me once he blames your production for written as street people, they’d run out of. that. What do you think? Now they were writing songs as pop stars and it wasn’t the same. And the thought of Well, Hugh sang most of the songs – I being in Paris with Jean Jacques for three think he’s wrong. I can tell Hugh Cornwell months or whatever it was gonna be just and Jean Jacques a mile off – I don’t didn’t appeal. Plus, I was starting to get really know how to respond to that. I into electronic music at that point in time mean, when it’s Hugh singing, it’s really – I was talking to Visage, I was talking to good – and when it’s JJ, it’s alright. I – and doing another Stranglers mean, how can you compare Bitching with album when I didn’t have any new ideas and Hanging Around – in terms of writing I didn’t feel I had anything to contribute… Had you heard any new tracks they were to get it right. I think The Stranglers had styles, vocal performance..? It’s totally I suddenly got up one morning and said coming up with? been touring constant. different. I mean, I stopped working with I didn’t want to do this record. They’ve The Stranglers suddenly. Overnight I said got Alan. Alan knows everything they’ve No. I hadn’t heard a thing. I don’t think… You already recorded Euroman. Was that I’m not doing it anymore. I think they ever done. I phoned Ian Grant and said I might be talking out of turn here, but at TW? were a bit pissed off that I suddenly said I’m not doing it, I don’t think I should be I reckon a lot of them were written in I’m not doing it anymore. I made three doing this album. I’ve made the decision. the studio. You know with little ideas No – all different studios. Whenever Jean or four albums with them and for some they’ve got on the road rather than having was free he’d say: can we try and get a reason they think I’m… well, that doesn’t What was his response? the songs all ready to go. I don’t blame session in this week for Euroman? bother me. What concerns me is why they them, it’s just the way the business works should think badly of me. I think because He said they’re gonna be really fucked off. sometimes. At the moment, my son is in So JJ still wanted you for these early 1979 we were supposed to go to Paris to make I went: yeah, but I’m telling you, Ian – it’s ‘Does It Offend You, Yeah?’ – a modern sessions? a record and I decided I didn’t wanna do the best thing. He said: now you’ve put electro-rock type of band, incredibly good, it. And that would have turned out to be it that way, you’re right. But they’re still but I’m watching the pressure that he’s He did then. Then they go and talk to me The Raven. I sort of had a bit of a problem gonna be fucked off. I went: okay. But it been under to write. The advice I give like shit! with JJ’s behaviour at the record company. was the right thing to do. I really felt I him is: put your foot down and demand Inasmuch as he had misbehaved very didn’t have anything to contribute. the time you need to do all you need to do You had other work?

34 Burning Up Times Issue 3

Jean was always jealous of me working Sewer. Big epic tune. Loved it. Sweden with other bands. I remember when we I liked because Hugh had told me about we’re doing No More Heroes… or might touring Sweden and finding it boring and have been still Rattus… somewhere in I could relate to that ‘cos I thought it was between the two – and we were having a crap too. chat at TW during a break, and he said: do you know, Martin? The Doors producer You went on to mix Live (X-Cert)? never worked with anyone else but the Doors. I went: Well, if you’re gonna do It was a bad idea, a management idea. that, you’re gonna have to make me a The demand for The Stranglers at that member of the band, so I get a slice of time was huge. Best thing since sliced everything. He said: Oh, I’m not sure we bread. They said we’ll do three nights at can do that. I said: I’ve got family to keep. the Roundhouse. What they should have At the time, the Buzzcocks were coming done is one night at a massive venue and up on the horizon, and he knew I was brought ‘em all in. Can you imagine keep thinking about producing them. I went: playing at the same venue – it’s like work. look – I’m either a Strangler, in the fullest So I was asked to record it live, and the sense of the word – but I’m the studio band was pissed off, everybody was pissed Strangler – or I’m a freelance record off. Crap vocals, the recording was shit, producer – and I work with who the fuck everyone was in a bad mood, the band I like. But what you can’t have are these didn’t wanna do it, I didn’t wanna do it, services for nothing. it wasn’t my idea. I did the best I could. The whole thing was a bodge, I hated the You didn’t want them to record In The thing. Write this down: ‘Martin Rushent Shadows. hates X-Certs and should never have been released. It wasn’t my decision.’ But No. lurking somewhere in the vaults are much better live recordings of The Stranglers Were there any Stranglers songs that but I don’t know where they are. Maybe didn’t make an album? EMI have them? I know there’s a very early live recording of them at the Red No, I can’t remember one song that got Cow – I don’t know where the fuck that is. binned. I might be wrong. Who else came down to TW? Was there a song called Little Choirboys that was recorded during Black & White? Lew Lewis came down, and – he was great. I really like him No. I don’t remember that one. and he was really up for it. We all got very drunk – Lew Lewis got completely How did Black & White compare to the drunk. Lew turned up with two bottles others? of Jack Daniels and necked the lot over 4 or 5 hours. We put him on a train back to Didn’t like it. I liked Sweden, Toiler On or wherever he lived then, The Sea and Nice ‘n’ Sleazy. Toiler to me, and apparently he ended up in Bristol, in was Hugh’s follow-up to Down In The a siding. We put him on the fucking train

35 Burning Up Times Issue 3 to Southend or wherever, and we thought: But The Stranglers without Hugh just well-in with all the top Irish Yeah, yeah – he’s on the train, he’s fine ain’t… musicians – and she’d recorded now. He must have got off and walked – I the backing track and asked if I mean, you have to go to Paddington to get What about The Stranglers without JJ? would do the overdubs and her a train to Bristol, so fuck knows what he vocals and mix it. It was very did. Chas de Whalley too. I haven’t seen Nope. successful. The record company him for years. He used to hang around was called Invisible Hands and a lot. He was a big Stranglers fan. Chas Or Dave? the guy who owns it, a big guy really put Jean Jacques nose out of joint. called Charlie is mates with When No More Heroes came out and just Is Dave still in it? No. Hugh’s label. It drifted around exploded, he said – Martin, can I do an and there were mutterings, interview with you about your work with And Jet? but I kept getting invites to The Stranglers and stuff? I said: well yeah, see Hugh, saying he’s playing okay. Came out the following week with Jet is still playing? He must be… how old? in tonight – my a picture of me and the banner headline – diary doesn’t work like that The fifth Strangler. Can you imagine how Sixty-nine. – and it sort of fizzled out Jean Jacques Burnel reacted? He went: because I never actually went Martin, how could you do that? I said I Wow. Nope. If one of them is not there, to a gig. And I’m not even didn’t do anything. I did an interview and I then to me they’re not The Stranglers. sure Hugh knew about it. didn’t write the article or the headline. Despite all the conflabs and diversity of Maybe it was get them in a style and different directions pulling and room and see how it goes. That’s a really good headline! all that – that’s what makes them great. And if you take one of them out then Would you go see The Yeah – and that will really fuck him off! I you’re left with something incomplete. Stranglers now? got to give him this – he always said: I am Like a jigsaw with a piece missing. It’s just never gonna stop doing The Stranglers. not The Stranglers for me and that’s it. I I will never go and see The And he never has. don’t want a different Stranglers – I want Stranglers unless Hugh is The Stranglers. I’ve never knocked them there. I’d listen to his songs Could you foresee Hugh leaving The all for carrying on – that’s great. I’ve never – if Jean Jacques Burnel or Stranglers? seen them without Hugh, and I won’t Dave Greenfield did a solo go because I know I’ll be disappointed album I’d listen to them. When I heard Hugh had left, to me that because I want to see Hugh slashing away, But I’m not listening to was it. True, I saw Jean and Hugh fighting, you know? Hugh can do a lot worse than anything by The Stranglers particularly on the road. I remember at the rejoin The Stranglers, frankly. There was because I’m afraid it’s The Roundhouse having to separate them as some talk about six, nine months ago Stranglers with one of their major cogs if there’s no Hugh, then… they were just about to do a gig – during about me possibly doing something with missing – it’s like watching a film with ‘cos I’m sure all the angles with Jean, I’m the sound check. Fucked if I know what Hugh, which I’d like to do – which never all the best bits missing. The same if Jean sure we’re all grown up now – and we’d they were rowing about, but I went up came to anything. I’ve heard his material – Jacques wasn’t in it. probably do a wicked album. But if there’s to them and said: Guys, guys – and got it’s nice, but he’d be much better off with no Hugh… but anyway, it’s like revisiting in between them and they looked at me The Stranglers. What about producing The Stranglers the past. We can’t be what we were in the and said: Fuck off, it’s got nothing to do again? late ‘70’s. We can’t be that again. That’s with you. I said: Okay, just don’t hit one How did that come about? what we were then and to try and go back another, you got a show to do tonight. If Hugh rejoined The Stranglers – and and recreate that vibe… I’m 58. So it didn’t come as a surprise cos I just I did an album with Hazel O’Connor there’s some good songs – I’d do it! I thought Hugh had had enough, you know? recently – she lives in Ireland now and might just go and do another album. But But you now produce modern music –

36 Burning Up Times Issue 3

I’m working on of ‘These No, because I would disappear to my Are The Things…’. I’d be house, sing all my ideas into something JJ Burnel on “behaving badly...” very interested in hearing like that… [Dictaphone] and capture the what your opinion… I like spontaneity there and then. And then we’d Martin Rushent clearly doesn’t have very fond memories to appeal to a bunch of spend days recreating the spontaneity! of JJ Burnel, judging by the interview. Some of his people who’ve never heard stories concerning JJ were quite close to the bone, so it. I play a DJ set with a You’re busy even nowadays, but do you we at Burning Up Times felt it only fair to run some of Human League song I’ve ever consider retirement? the more lurid stories past JJ, as his reputation may have remixed and the kids go: been called in to question (ie, to save our arse). wow, wicked tune, never Nope. Well, we’ve all got to go sometime JJ enjoyed the interview, calling it “a cracking read”. He heard of it. – with my lifestyle I should be fucking was happy for us to publish it in full, but wanted to share dead by now. I didn’t expect to make his angle on some of Martin Rushent’s recollections.... Like the Richard X 50. I smoked like a trooper all my life, remix? drank like a pig, took loads of drugs and “Just a couple of things regarding [the] Rushent [interview]. I goodness knows what else. I never slept. think he has been slightly disingenuous or maybe it’s just that Yeah, he mashed up my From the age of 18 until I reached 35, 30 years have gone and ‘the truth is changed by the memories remix and earned me I don’t suppose I averaged much more we have’. 20 grand, thank you than a couple of hours sleep a night. “Firstly regarding his ‘secretary’. What he didn’t mention, very much! I’ll play it I didn’t really try cocaine until I was and what he might not have known that we knew at the time, to you. I’ve not finished in semi-retirement. So when my first was that we knew he was knocking her off. So there was a bit of horseplay involving her. it. You won’t offend me, marriage broke up I became really bad. “Secondly, he didn’t mention the fact that he kindly loaned you’re market research. I I became a single dad with three kids me his car to drive down to the South of France at Christmas. won’t kick your head in, and working in a studio didn’t really fit Unfortunately I wrote it off about 30 minutes into France. He was honest! in. I’m back in it now and it’s all going quite pissed off! I don’t think he forgave me for that; it was his and you DJ at raves too? Old technology was time-consuming – like really well. I learned a lot, and found pride and joy. We still have a letter he wrote... V funny. the Roland Micro-Composer on Dare? there was a life outside of the studio. “Thirdly, we were actually recording The Men In Black at Yeah, a very different vibe! I also did It was a very accredited computer So from 18 years old I was in a studio his studio and he said that he couldn’t get into it and was tired so Euroman Cometh with Jean using beatbox which was dedicated to the job. Really, 24 hours a day, 7 days a week, 365 we said to him to take the rest of the day off and we carried on machines and that was very interesting. So it was a work of a genius, the Roland days of the year – and every 4 years it without him and proceeded to make, arguably, our best album ever, The Raven, without him. it probably wouldn’t sound like the ‘70’s guys or whoever designed it clearly was 366. So then it was like: oh, there’s “Fourthly, he seems to imply that Hugh wrote the best knew what they were doing, but it was this thing called the telly! This is good, I Stranglers, it would sound like the 21st songs, or that Hugh sang his songs, either of which is untrue. century Stranglers. As a sound engineer, totally time-consuming. You wanted to like this. And the pub – you can go and Admittedly, I agree Hugh had the better voice, but some songs I really like technology and synthesizers, make one musical note and you’d have have a drink and meet people – excellent! that I wrote the lyrics for, like Goodbye Toulouse and most of hence the Human League. I tell you to enter as two-digit values – the pitch Cooking, oh I like that. I was so single- Hanging Around, were sung by him. Also the epics like Toiler on what I would like to do. I’d like to remix information, the velocity, the length minded for the first part of my life – all the Sea, which I wrote every note for, or the Raven which I wrote Rattus Norvegicus because I’d like to of the note, and within that time, how I did was make records. Yeah – I loved music AND lyrics for and Down in the Sewer (music) he seems to give it a new slant. I’d like new beats on long you want that sound to last for, it, but then I discovered all these other think were written by Hugh. it, electronic. I feel that a new generation called the gate time. So you had four things – and I love them too! “For years I’ve allowed Hugh to let people think that could be drawn to it. numbers you would have to enter to he did everything or the majority and he’s actually fuelled this create a note. So you can imagine how So what makes a producer great? with his book and frankly it’s time for another opinion to be heard. Subsequent events and records speak for themselves. How could that happen? long it took to enter [sings keyboard Remember the person who walked out on OUR band is now riff to Love Action]. Some considerable Just sheer genius, really! trying to bask in the glory of what we’ve achieved subsequently If EMI agreed to it. I mean, I have all the time. even to the extent of changing his logo to ours. Pathetic. masters of Dare and I’m steadily remixing View Martin’s video tour of his studio “AMEN.” all the masters. In fact I’ll play you a remix So studioitis must have crept in? HERE

37 Burning Up Times Issue 3 Waiting for the Meninblack in ‘77 Alan Hillier asks John Robb, singer and author of ‘Punk Rock – An Oral History’ all about Punk and The Stranglers.

lackpool, Lancashire. Summer transition to Punk, to be honest!” When did you actually hear the word 1977. John Robb has sat his ‘O’ ‘Punk’ as a description of this new genre. BLevels – but he’s nonplussed When did you first hear about the Punk about his future for he knew “the world movement? In 1976. I know the term had been is fucked and music is crap.” Suddenly around for a good few years before then music changed all that: “I knew about In the music papers. Some kid at school but the first time I really remember seeing punk pretty early,” he says. “I knew turned up with by The Dammed it banded about was in the music press in what the music sounded like from the and that seemed amazing. It looked so 1976. way the groups looked. You’d see these home made: records up until then had bands looking mean and economic in been in expensive looking colour bags, and Apart from New Rose, what else were their photos so you kinda knew that was this was something that looked attainable, you listening to? how the music was going to be... and I something that you could have a go at. was waiting for something.” His first That was very powerful. Someone else In there was nowhere to hang Punk gig was The Stranglers at Lancaster turned up with a copy of Sniffin’ Glue out, so we’d end up at this skating rink University. and the idea that you could create your where they played Northern Soul all night Having grown up on 1970’s glam rock own media was just a strong. Punk was whilst the mad kids would whizz round gods such as Slade, Sweet, T-Rex, David something our generation was waiting kicking people with their skates, blood on Bowie and Mott The Hoople, John sums for whether it was in London – where the ice. The rest of us would skulk around up the jump: “It wasn’t too much of a you had the groups on the doorstep – or the café. They played a mini punk section Blackpool, where you read about it from a in the middle of all this Northern Soul distance. We still felt as involved and got – The Ramones, New Rose and Anarchy our own bands and did our own fanzines. In The UK. That’s all there was to play at We got the message about creating your the time! own culture very, very quickly... that DIY thing was so inspirational. Every What about your favourite Punk band? week something turned up, a great new John Robb single, another cool looking band, another I don’t have a favourite, there’s so much I Punk influenced your life quite a bit! attempt to form our own band… we like about each band even if it’s completely knew nothing about it and we tried to different in each case... I think I felt a lot of the same sort of make music with no idea how to do it. things before punk – it just sharpened a lot We thought tuning up was putting the Did you consider yourself a Punk? of that stuff up. It gave me the chance to machine heads in a row. Somehow out of do what I wanted with my life, which was our naivety we worked something out. We Yeah, but without any of the constraints amazing. didn’t buy our punk gear from hip shops. that people have. It’s a great scene and the We bought it from Oxfam, de-mob suits, music and all the other stuff that comes What happened when you first heard The stuff like that. I think punk in the north with it make it the most ‘full-on’ rock ‘n’ Stranglers? was quite a different scene than it was in roll experience. For me, it’s the music, the south. It was dangerous enough just the style, the politics, the community, I was completely blown away! The walking down the street with short hair! everything. It’s the pinnacle of pop culture. weirdest thing is I still get the same

38 Burning Up Times Issue 3

over, lifting up the needle to take it back hooked, hooked for BROTHER JOHN’S TOP to the beginning and once again, get lost life. Here’s why: STRANGLERS TUNES in their dirty lowlife tales of London sewer the running bass rat survival. It doesn’t get much better line and the sheer Peasant In The Big Shitty than that... malevolence of the Down In The Sewer song. Hugh sings it Peaches What was your first Punk gig? perfectly – it’s not School Mam pleasant listening Straighten Out The Stranglers at Lancaster University, at all, and that’s the Relentless sometime 1977-78. It was pretty lairy, lots whole point. The Sometimes of punch ups between the rival towns of mean-ness of the Toiler On The Sea Blackpool, Preston and Morecambe. The lyrics is couched in 5 Minutes band were amazing- the next day I swear a fantastic melody Turn The Centuries, Turn about 15 groups formed in Blackpool as that at first sounds Ugly a result of that gig. It seemed like everyone monosyllabic. but No More Heroes was learning bass because of JJ, and to this is really catchy Nice ‘n’ Sleazy day, you will meet people who picked up and Dave is the bass because of him; he revolutionised really brilliant the instrument, taking it from the back on keyboards an feeling when to the front of a bands sound. The gig this one. There’s I hear them now. You never get bored was great. The violence wasn’t implied. It that killer chord of listening to them, the songs still have was real, and there was a proper sense of change too – a mystery to them, a dark power and a excitement. The crowd was a right rum making it one reckless excitement. It was the sound mixture of punks, bikers, drugheads and of the greatest that really blew me away, that bass. the every gangbanger in the area... album starters oily vocals, the keyboards, the way it was and still one of psychedelic but also far more aggressive Had quite an affect on you then!? my favourite than the other Punk bands. When you Strangler songs listened to Rattus it made you feel grubby, It blew me away! I loved Punk and I loved ever. They really dirty and sleazy. The Stranglers were the The Stranglers’ psychedelic twist. I loved need to get it grubbiest band ever. In fact, just looking their tunes – I’m with Pete Waterman on back in their set. at the Rattus sleeve was enough – they this one – The Stranglers wrote songs as Peaches and were the weirdest looking band. Burnel good as The Beatles. They wrote great Go Buddy Go too – Peaches had the best them so many time but they still sound so and Greenfield looked weird at the front, pop songs so effortlessly, and opened up song intro. It’s positively NASTY… the exciting. and lurking in the background was Hugh possibilities for everyone’s musical side, best bass sound from the best bass player. Cornwell – psychotic-looking, while Jet making everyone I knew want to be in Hugh’s snarling tongue-in-cheek snipes. How do these tracks compare in Punk’s looked plain surly. It’s still one of my band. His delivery is absolutely perfect, and it’s hierarchy? favourite band photos, complementing so damn funny, the way he says ‘bizness’. the music perfectly; oily, sleazy, dark and What was the Stranglers track that kicked It still cracks me up after all these years. It At the top, for sheer invention, aggression dangerous – and yet, really cool. The it all off for you? really is a fantastically put together piece and song writing nous – and for that stranglers also wrote amazing songs, of music. Of course, sat on the other side sound, every instrument was a lead everything was so damn catchy. Each song Grip got me interested. Rattus was is Go Buddy Go – a great slice of rock ‘n’ instrument, everyone seemed to be playing was a killer and with ‘Sewer’ at the end, amazing for all the reasons above. I guess roll. The production on these records is something brilliant and twisted. The it was mind-blowing. Me and my brother the song that really kicked it off was amazing – they still sound switchblade invention was awesome and the lyrics used to listen to that one track over and Sometimes – as soon as it came on, I was sharp after all these years. I’ve listened to dark, with that morbid sense of humour.

39 Burning Up Times Issue 3 The Finchley Boys Questions posed By Owen Carne Answers supplied by Alan A Hillier, Finchley Boy answer to that question must be The When did you first discover the Punk Stranglers at the Torrington in North phenomenon? Finchley on 14th November 1976

The first time I ever remember hearing You seemed to enjoy intimidating bands the word ‘Punk’ combined with the word like the Damned when they played ‘Rock’ was sometime in early 1975 when locally. Was this deliberate to ‘test’ their a guy I was working with called Alan bottle or was it just your way of enjoying Swaysland (who was a part time DJ) used yourselves? the phrase. The beginning of 76 was a weird time and we all had a kind of retro We loved going to gigs and I think you 40s thing going on with leather jackets and are referring to the Damned gig at Manor chinos a la Tommy Jordache (the cocky Hill School which I will cover in another rebel played by Nick Nolte in the smash question. We did like getting amongst it TV series of 76 Rich Man Poor Man). It at any gig. The whole thing was so new, The Finchleys invade The Damned’s stage at Manor Hill was a good look. exciting and vibrant and any of the ‘good’ The first Punk track I ever heard was bands were well worth watching. brothers ‘gang’ had trashed the Damned ‘New Rose’ which I heard on the day of its Well, I suppose there really was a P.P (Pre- gig and played on their instruments……. release in October 76. I remember being Had you heard much about the Stranglers Punk) and an A.P……..yea you worked In fact, he was actually at this gig and it with Dennis, Graham and some of the before first seeing them? that one out all by yourself didn’t you? wasn’t long before we took him along to other Boys at my Dads house and thinking And in some respects everything that we some of those early Strangler gigs, so he “Fuckin hell……I like this….I like this a Not at all. knew P.P. changed overnight but I had could possibly lay claim to have been one lot” I remember that we played it over and You have to remember that when we always liked bands like Alex Harvey (who of the youngest Stranglers fans getting in over again doing my old man’s nut in to met them at the Torrington they didn’t lived in Finchley) and the Heavy Metal to ‘away’ gigs back in 77, but to answer the point that he stuck his head around even have a record contract and the only Kids. The Damned were a favorite of mine the question…….the Stranglers were our the living room door and sarcastically time you could have known about them right from the start and funnily enough I band and they took complete precedence. said with a smile: “It’s ok but it will never or heard their music was if you had seen saw the Stranglers and the Damned for replace music”. them live. There was a weird ‘buzz’ about the first time in the same week (Not a bad Is it true that you all came to the this new phenomenon called punk and week was it!!!) The Torrington gig was Torrington gig in normal clothes & then Who was the first Punk band that you I just remember seeing a ‘flyer’ for the on Sunday 14th November 1976 then changed once you were in the venue? saw and where? Torrington gig when I was sitting on a bus the following Friday I saw the Damned Was this due to the venue’s dress code? coming down from Barnet and something at Manor Hill School in Finchley. My I remember going to see bands like The just clicked inside my head and I knew in youngest brother John was in the third No. That is not true at all and I have Heavy Metal Kids who I believe were an instant that I just had to be at that gig. year at Manor Hill School at that time. always wondered how that rumor started at the very fundamental roots of the This gig was amazing and ended in total (Can we just blame Jon Savage!!!!!!). beginning of punk in UK (and if you ever Were there any other bands that the chaos and a complete stage invasion Before they turned the Torrington into a saw one of their gigs in 75 you would Finchleys would go to see or did your which seemed perfect at the time. My little fucking desperately needed Starbucks and know what I mean) but the unambiguous loyalty forbid it? brother loved telling his mates how his big the legendary gig venue at the back into

40 Burning Up Times Issue 3

extent there was almost a feeling of deja Straight away…………..We just couldn’t vu and I don’t remember thinking that the get enough. We did all the London gigs songs we were hearing were unknown, at all costs but in the beginning traveling they had an almost timeless familiarity to distant gigs was confined mostly to right from the first moment. the weekend gigs and those weekday gigs The other amazing thing was that that were doable ‘there and back’ in one we just instinctively went totally fucking night. We didn’t give a fuck if we got back berserk and seemed to know exactly to London at 6am, we just started doing what we should do, just like baby birds more and more and going further and who eventually have to throw themselves further. It just seemed so natural. out of the nest and hope that they will fly..It really was like that …..totally Your normal mode of transport to gigs Incredible and when we jumped up on was ROD the transit. Who owned it? stage and got amongst the band for the very first time ….we flew. Oh yes…. we This was Dennis’s van. flew alright. R.O.D. was the first three letters of the registration number (Not some twee When did the band start referring to you name that we invented for it). It was a as the Finchley Boys (or Finchley Freds light grey twin wheel based Transit Van initially)? Did Hugh give you the name? and it felt like an unsinkable battleship. I loved it and looks were very deceiving To be honest I don’t remember ever being because although it looked a bit rough referred to as a Finchley Fred…..I certainly on the outside the bonnet (by October The Torrington back bar in its latter day incarnation. Says Al: “The bar still is exactly where it always was.....When I first saw the Stranglers I was stood at the far right of the bar by the pillar,.the band were playing where the chairs are to the right of the bar.” never heard anyone use that expression to 77) concealed a brand new Factory Ford and looking immediately to my left my face….ever. engine and that scruffy old battle bus a restaurant called the ‘Three Oceans’ only to make direct eye contact with JJ and We were the Finchley Boys could shift like shit off the proverbial there were two ways of getting into the Hugh who were leaning against the back instantaneously. Maybe that’s because the shovel. band room. One way was from the side wall looking gaunt and nervous. For some Finchley Boys had lived before in an earlier entrance in Lodge lane and the other was reason the whole gig is remembered in incarnation back in the sixties. The sixties Rumour has it that, if you were stuck through double doors at the back of the my mind in total monochrome black and Finchley Boys were a bit of a tasty mob for transport, cars were occasionally pub. On the night we first saw them we white without a trace of colour. by all accounts and I have read of some ‘borrowed’ from the Finchley area only to came through the pub doors and straight of their antics because told of return later that night. Care to elaborate? into the gig. The toilets were immediately How quickly did you realise that this battles with them and the ‘Mussies’ from to the left (Before you entered the band band were something out of the ordinary? Muswell Hill and there were some vicious I demand to see my lawyer. room) down stairs and I don’t remember incidents which involved brutal kickings anyone disappearing to the bogs to get all It took fucking ages….about one tenth of a and the odd stabbing. The Kinks always To the outsider, the Finchleys could ‘Punked Up’. We were all skinny young nano second. maintained that they were from Muswell appear to be the band’s private army. Was lads wearing cap sleeve T Shirts and this By the time Dave’s keyboard intro to Hill, but whatever they say, Ray and Dave it more accurate to say that you were rumor could have come about because Grip had finished I knew that this band Davies were born and lived at 6 Denmark just looking after your mates who just from the very beginning of the gig we went was the one I had been waiting for. The Terrace N2, which is in East Finchley not happened to be in the band? fucking apeshit and started ripping at each sensation was almost indescribable but if Muswell Hill. others cloths so we never came out of the you have ever received an unexpected mild Not really………If they would have been gig looking the same as we went in……. electric shock that went on for an hour How soon after your first gig at the our mates before being in the Stranglers Funnily enough I have the most vivid and a half you might get the idea. It was Torrington did you start traveling around then that might be true. The truth is that recollection of going through those doors an almost perfect moment and to some to see them? when we met them they were not our

41 Burning Up Times Issue 3

JJ and Dennis at Bracknell Sports Centre mates and they were not well known or to get very jumpy and often their heavy famous at all so it was easier for us to handed tactics were instigated out of fear, become friends with them on a genuine but some of them were just fucking vicious basis because at the outset we had nothing thugs and we had many run ins with them to gain from being with them other than because of that. the fact that we instantly loved the sound that they were making……..they realised Was the FBs part in the violence purely that aswell and knew that our input was defensive or was it a pack mentality? not based on the fact that they were a famous band who we were latching on to. There is no doubt that we were a ‘pack’ What we did was instinctive and totally in the fullest sense of the word and we genuine and they knew that and they needed to be, we were targets for anyone responded to us in the same way..It was and everyone, we were out there on the genuine mutual respect which is always streets getting to venues and we needed to the best basis for any relationship. stick together to a man, but our violence was always totally defensive or retaliatory. How much violence was there at gigs I cannot remember one single occasion during that early period? How would when we could have been rightly accused you compare it to a football match in the of instigating any unnecessary agro (I Seventies? don’t think the Stranglers would have appreciated that). There was so much Football matches in the seventies were potential and provocation at all the early very, very dangerous places to be at. gigs and we would have been crazy to Organised gang violence was endemic and have done so. Our actions were always prearranged battles with rival fans were reactionary, but when we were attacked encouraged and the big London firms were we were fucking ruthless in our retribution at the absolute peak of their viciousness. I and if anyone wanted to harm the band, can’t honestly remember going to a match the equipment or harm us we would fuck back in those days where there was no them up, tout suite in true Finchley Boy significant violence and I am ashamed style. to say that we all played some small part in that scene..but it was simply the thing Many people will have spotted the to do, you were either in…..or you were Manchester United Red Devil tattoos on out…..that was your choice and that was some of the FBs arms. Surely Finchley is just the way it was. Arsenal or Spurs territory? I suppose a lot of the ‘violence’ at the early punk gigs could be described That always disappointed me. Back in as boisterous or over excited behavior. 1974/75 most the Finchley Boys were Looked at from the perspective of the either Arsenal or Tottenham although venue staff or the hired security I suppose we never let those allegiances divide us. it seemed a lot more violent than it As far as I can remember Dennis was actually was but there were so many more always a mad Man Utd fan (I’m not sure opportunities for it to kick off especially why that was) and he was instrumental when people began gobbing, pogoing or in the creation of the London based throwing beer around. The bouncers used ‘Cockney Reds’ which saw the defection of

42 Burning Up Times Issue 3

fan to this day.. just gave him a few slaps and kicked him What a couple of fucking twats they were. out and after all his threatening bullshit Pop Idol, X Factor journos, answering an Who suggested that the band play a gig with his gun and everything he just went advert to supply the boring ‘Hippy’ NME at the Herbert Wilmot Youth Centre on like a cowardly pussy…which was a bit with new ‘young guns’ to get out there Hugh’s birthday in 77? disappointing and report on this new Punk Scene. The We banned all of the press, which only criteria the NME required was that I’m not really sure who’s idea it was but totally pissed them all off and we kept a you had not been to university (Which we all played in a legendary football team special watch out for photographers who would fuck up the whole street ‘ethos’ of who (at that time) were called Wilmot were also banned. This raised the profile the ‘programme’) The Gareth Gates and Ajax FC. We had had a few previous of this gig and to a large extent may be Michelle McManus……….of the literary incarnations but had been banned from responsible for some undeniable animosity world ………….fuck off……. Is it any the league a few times and we kept from some journos who just could not wonder that we never took the music press resurfacing under new pseudonyms. seem to get over the fact that we despised seriously at all and is it remotely surprising We played most of our games fucked the main stream press and wanted nothing that these ‘journalists’ knew it all along. up with amyl nitrate coursing through to do with them. This gig was for ‘us’ They knew that they were phony and they our veins (and various other stimulants) and there is no doubt in my mind that knew that we knew that they were phony. and whilst the opposition were sucking they never really forgave us for our total Parsons and Burchill (and many others) many of the boys away from London clubs on oranges at half time we were having a rejection of them (Check the BBC Seven were created, they were allowed to exist to Man Utd. This outfit became legendary few Marlboro’s, the odd spliff and a bottle Ages of Rock) because the bloated music press needed a in Manchester and London and attracted of Holstein pils that were always buried The line up was fantastic. First up were fire break between the old guard and what some serious nutters who were at the behind the goal in the mud (to keep them some peripheral Finchley Boys playing in was happening on the streets in 77, they forefront of the Manchester gang culture. cool). the opening band who were called ‘Dust’ needed to sell copies of the NME and these At the end of 75 and the beginning of (Don’t do that at home kids!!!!!!!!) Tommy Taylor (Guitar) John Harnetty common pseudo intellectuals would do 76 football violence was at its peak (as I The idea was to raise some much (Drums), Simon Brown (Guitar) who nicely. These arseholes were encouraged have already mentioned) and there was needed dosh to buy us some new kit and was Leigh (Arthur) Browns little brother, to set sail on a punk journalistic journey the distinct possibility that we might have get the Stanley Road pitch some new then ‘London’ and the ‘Drones’, it was to who knows where but they quickly to meet up and do battle against each nets and generally put some cash into absolutely packed solid. A brilliant gig….. realised that we were real people, with other. I remember a game against Man the coffers of our local youth club (The with not a dopey hack in sight. real lives, doing real things and that stifled Utd sometime in 1976 where the Utd boys Wilmot) which we had all been a part of their corporate bullshit to a large extent went on the rampage at White Hart Lane since it opened in the late sixties. It seems that journalists had the wrong but they hated the fact that the Stranglers and actually managed to turn a London idea about your dedication to the and the Finchley Boys would not be bus over on its side and there were Any particular memories of that gig? band. Julie Burchill described you as a stereotyped as mindless thugs or senseless running street battles before and after that ‘coterie of homosexual youths’ and Tony misogynists although this was what they game and I knew for sure that Dennis and Absolutely…..The queue to get into the Parsons wrote a caption to a picture of generally wrote about us Leigh Bull, Leigh (Arthur) Brown, Pete Wilmot gig snaked for hundreds of yards Dennis Marks looking up to JJ on stage “More suited to the football terraces” Sharpe and others were down there and right down the side of Merry Millers suggesting it was a case of hero worship. What the fuck did they know about the heavily involved. factory (A commercial bakery) and way Why do you think you were portrayed in football terraces????? I was running with the Tottenham Boys down the ‘walks’. At one stage I was this way? The message to them back then was and I was grateful that we never crossed doing a stint on the door opposite the simple……Fuck you………Fuck all of you. paths on that day…Thankfully by the time kitchens and this great big geezer started “A Coterie of Homosexual youths”…. The message now in 2007 is … “I hate you the punk movement came along and we moaning about having to wait to get in , Really??? now………………I always will and when were more involved with the Stranglers he was dressed like a 50’s teddy boy and I bet she couldn’t say that with her you’re dead I’ll hate you still”. our time was spent back as a united squad stated getting threatening and was saying mouth full of Finchley Boy Cock. By the way….is this same Julie Burchill and football went on the back burner…… that he had a gun on him (which he did) Burchill and Parsons……… (Weren’t who eventually shacked up with a chick although Dennis is still a mad Man Utd enough was enough with this cunt so we they married for about five minutes?) called Charlotte Raven……..ultimately

43 Burning Up Times Issue 3 fulfilling every homosexual fantasy that I can’t honestly remember who actually she had so vividly imagined was happening came up with the idea or the design I for us.…. just remember being ‘issued’ with two and realising that we were no longer How were the FBs viewed by the local anonymous. youth in Finchley? Was this an indication of elitism towards Good question……You know something other fans or just a pride about your Owen I have never really thought about dedication? that before and to be honest I have no idea. I know that my little brother John Both. I suppose we could have been and his mates thought we were pretty cool accused of a certain amount of elitism, we but we were always out of town and never certainly felt that we were in an extended really mixed with the younger lads in Stranglers family and we knew that we Finchley but I would like to think that they belonged there. We never paid to get in to were proud of us. gigs and we were always on the guest list, a bit later on when we were better known Is it true that JJ persuaded one of the the venue staff just let us stroll in without Finchleys to amend his NF leanings any confrontation following issues with Pete (Enter, the black FB)? Did politics play a part in the Did you ever travel abroad to see the FBs? band? Amsterdam, Cascais in Portugal etc? You’ll have to ask JJ about that but I never time but, speaking for myself, I was born uncaring excesses of greedy factory bosses. heard anything about it. political and instantly understood that I can remember many strikes at his factory No I didn’t. I was due to go out to Sweden I can’t imagine who it might have been there was a social and cultural divide, during the sixties where my old man but I got injured and Alan Warne went in and I never heard a single word in that which is far more sinister, damaging would support a strike to improve the my place regard. For the record, I have known Pete and far reaching these days. The other safety and the working conditions of the Enter all my life, Pete’s colour was never Finchley Boys felt very much the same men (and women). These actions were The normal assumption is that JJ was even thought about, he was a brother but I’d like to think that because of our not all about more money and were never closest to the Finchleys. Were you close to to all of us. Pete was solid as a rock and backgrounds we had a broader perspective taken lightly; they were invariably about the band as a whole? he knew exactly who he was and he also on the effects of politics and the dubious ‘forcing’ the factory owners to give some knew that he belonged with us (and actions of politicians and we all had a thought and spend some money on basic That’s an interesting question. Jet was a proved it time after time) ..he knew it, it healthy skepticism that was shared by safety measures which, because of the very great laugh and had a really dry sense of was instinctive and he had all the qualities the Stranglers although none of us were slack laws in those days, they were allowed humor (which they all had) but he was required and many more besides. He overtly party political…we just hated all to flaunt with callous disregard. These already in his mid thirties and had a family was a fearless psycho on his bike and at of them. men took a stand against that dishonesty to consider. Dave was recently married (I one stage the Stranglers were seriously My old man was an active and in spite of true hardship that they knew think) and lived in a maisonette in Tufnell considering sponsoring him on the Grand aggressive shop steward in the fifties and they and their families would endure Park at that time (I did go there once) Prix circuit sixties and like so many of the other local and I’m glad to say that because of those so I suppose it was natural that we spent Back in the seventies there was just no dads he worked at a factory called ‘Simms dreadful days health and safety in the more time with Hugh and John. Dennis getting away from politics and our lives Motor Works’. workplace improved. and JJ were very close and I remember were shaped by many of the events that My young life was colored by the some great times up at Hugh’s flat in took place. hardships and merciless reaction to Who suggested printing up the infamous Eggerton gardens in Knightsbridge. I Politics surround all of us all of the industrial action brought about by the Finchley t-shirts and badges? particularly remember getting shit faced

44 Burning Up Times Issue 3

stage invasions could be dangerous as the have been loosely leveled at us for this original agenda changed somewhat. incident (should that actually be the case) in the last verse of this song. There was a name check for the Finchleys I’d be glad to be wrong about in the lyrics of Burning Up Time. Did this that but I’ll leave that up to your own mean anything to you? interpretation. “Like the howling of bulls” Totally… Personally, I saw it as a great honor to be recognised in this way. At what stage did the avid gig going start The song was about a particular incident to ease off? Any particular reason? that happened in Brighton when we were down there for the Buccaneer gigs. John In my opinion the Stranglers were a showed what he was made of that night phenomenon, they were undoubtedly the and took to the streets with us in search of best live band that I had ever seen and to some guys who had whacked Alan Warne. that extent we were not surprised that they Thinking back, I really am glad that we were invited to spread their wings and never found those guys that night because take their music all over the world. the mood we were in I reckon we would This just had to happen and the logistics have killed them. of that were obvious. Although the early forays into foreign soil like Amsterdam Any thoughts on the other song relating and Sweden and various places in Europe Spot a blurred Hillier under Hugh’s guitar to Dagenham Dave? were doable the American and Japanese stoned with Hugh one night and listening photograph of a prick and bollocks with a tours were simply not generally cost to a first pressing of Rattus before it was cigarette tucked under the todger or a bad As I have said before, Dagenham Dave effective. By the beginning of 1978 the released. We stayed up all night listening photograph of the singer from Mott the just did not live long enough to become Stranglers had evolved into a world class to various tracks and chatting about the Hoople. some kind of guru to us. That is total outfit and the world, as they say, was their Finchley Boys and the various bands of fantasy. The guy was pissed up and out of lobster. We watched their progress at all the day. On the way back to Finchley some Many people will have seen photos of his nut at the 100 Club and he wanted to times and through May and September 78 time the next day I was still hallucinating the Finchleys on stage with the band and have a go at the Finchley Boys. He actually we hooked up with them when they were and had one of the best trips that I had shots from the 100 Club with a noose. grabbed hold of Dennis and that was back in the UK leading up to Battersea ever had (Actually flying above the van Were there any other on stage antics? never a clever thing to do at any time, he gig and onward toward 79. Nothing had a with London in full three dimensions….. started flailing about and chucking chairs sense of ‘fizzling out’ we were all getting amazing) Loads…..In the early days we would all about and being a fucking arsehole so he a little bit older and doing our own thing. I suppose you could say that we all come on to the stage and sing into the was quietened down in Finchley Boy style. Personally, I was playing in my own band shared in different moments at different mikes during Go Buddy Go and just have I do know how important he was to by 79 and that started to take up a lot times. I remember an occasion when we a great time. It was something we always the band and they knew him really well of my time, but I always got to see them were having some food in a restaurant did. I distinctly remember Pete Sharp and appreciated him much better than we whenever I could. behind Scotch corner in Knightsbridge and falling from a flying PA and landing right did and we all respected him and his part seeing JJ take a challenge to ‘bar jump’ and on the stage still holding a couple of cans in the Stranglers story. About how many times did you see the leaping the bar over thirty times without of beer….I just grabbed him by the feet After the 100 Club incident there band in the 76/77 period? breaking sweat or traveling with Hugh and pulled him off stage and everything really wasn’t many opportunities to ever on the underground to the UA offices just carried on as normal, as it always meet up with him Loads. I genuinely wish I could remember and watching the faces of people firstly did. To a greater extent stage invasions I do actually still feel a bit sad that he them all but apart from the most notable trying to work out if it really was him then by the punters were encouraged as long decided to end his life in the way that he many of them just gel into an overall trying to decide if his T Shirt really was a as they were just boisterous. Later on did and I accept any criticism that may experience.

45 Burning Up Times Issue 3

Any particularly memorable gigs? were a thoughtless group who reacted to were. To be honest initiatives or orders and did not think for JJ was never one Every one of them. ourselves, this of course is not true, but it to look back. I is fair to say that when the shit hit the fan reckon he will Do you still keep in touch with the rest we moved in to battle formation ‘as one’ have enough time of the Finchleys and do you miss pack very quickly, we often had no choice. We to do that when mentality? relied on each other completely. he has finished with what he is Not as often as I should, but we are like Do you still keep in touch with the band? doing right now family and you know what families are and I don’t think like. Not really……My brother Steve contacted that will be for I do miss that ‘pack’ mentality and Hugh quite recently (They were quite close a long time yet I I think anyone who has been a part of a back in the day) via Johnny Rubbish but hope. Looking successful team a gang or a military unit, from what Steve told me it was evident back is for especially when your safety relied on the that Hugh is a very busy pop star with those of us who strength of the ‘whole’ will always say the more important things on his mind than to have always same. There is a special bond that evolves chat to old mates like the Finchley Boys, ‘observed’. amongst a group of people who share a which is understandable…..I suppose, but common interest especially when others I still have great respect for him, what we Could you foresee the band lasting over are trying to destroy you, be that the press did together and what he has achieved on thirty years? fact that they are still motivated to create or psycho’s who just want to beat the shit his own. more ‘original’ music is a demonstration out of you to get a scalp. I keep in touch with JJ with the To be honest, I have burned my candle at and an ongoing example of their burning Although I agree that we were a occasional email but John remains (as he both ends and I could never have foreseen desire to continue to be creative on their ‘pack’ I will also say that the Finchley always was) a totally genuine gentleman me lasting the last thirty years let alone own personal level. I know this might Boys were fundamentally a bunch of and always replies (and still finds a place the Stranglers, but here we all are in 2007 sound hard or callous but in my personal individuals with different qualities who on the guest list for me whenever that’s and long may we all continue. Seriously opinion they owe us (the fans) absolutely had a common purpose and to some possible…………………How many people though..It simply wasn’t something nothing and what they continue to do is extent the word ‘pack’ somehow gives the would do that after 31 years???...Total that the Finchley Boys would have ever done for their own enjoyment with the impression that we respect to you for that JJ) thought about. I was 18 when I met them hope that we might enjoy it too. It simply Jean Jacques Burnel is a busy man at the Torrington and when you’re a kid has to be that way, it always was and I with shitloads of things to do so it’s a true everything is permanent, everything lasts hope it stays like that. I just wish I had testament to his ongoing commitment to forever, nobody dies and the terrible taken a camera. the memory of what we all did together news in the newspapers is happening to back then, he talked about the importance someone else, somewhere else and we What are you memories of that period? of the Finchley Boys back in the early never gave that a thought. days and he still walks that talk in 2007. Looking at that question from a 2007 Thirty years have flown by and there have Consistent!!!!!!.I think so. perspective I can honestly say (as I have been many, many experiences for me If I never meet up with him again I said before) that the ‘current’ Strangler along the way (Marriage, children and all will always have the enduring memory of members in 2007 are the ‘custodians’ of that stuff) but I can honestly say that my him making time to visit us (During the some of the best music of our generation, association with the Stranglers was one of recording of Norfolk Coast) at the funeral music that was created initially at a pivotal the most important experiences of my life of Finchley Boy Daddy Cool (Andy) where and important time which has been and I would never change a single minute we were all given shovels by Andy’s dad augmented and added to at various points of that. and asked to ‘bury’ him as if we were his over the last 30 years (Norfolk Coast and “Can we just go back in time and do it real brothers…which of course…..we Suite XVI is testament to that) and the all again?”

46 Burning Up Times Issue 3

Video locations, Colville Road, W11 & Southern Row, W10 It’s not easy finding the opening scene for the Something Better Change video; here the band emerge from a basement and jog past a row of whitewashed ter- London Landmarks raced houses. Back then the sun was shining, the sky was blue – and Dave G was hirsute. Today, through the grey mist, buildings look charmless. Owen Carne is here – and puzzled since his 1990s pilgrimage: we traipse the Colvilles, that is, Road, Mews, Terrace, Gardens and Square: “These are new…” he says, waving at the white plastic bin shrouds.” This is it.” Royal Borough of Changing & Straightening Beyond gentrifications and facelifts, lies the old terrace. But now we need to find the location for the rest of the shoot. Along Ladbroke Grove, heading for Ken- sal Green, there are some grey steps on the right leading down to some industrial units. It is here Hugh delivers his ‘First Commandment’ intro to Straighten Out. At the foot lies an innocuous bollard- busting, block-paved area where The Stranglers make the rest of Straighten THOSE PLAQUES Out and Something Better Change – the most eye-catching videos in their back HAVE JUST BEGUN catalogue. Meanwhile, I tread in some TO LINE THE dog shit, which they say is lucky. WALLS…

part TWO – W AND SW

47 Burning Up Times Issue 3

Windsor Castle, 309 Harrow Road, W9 Red Cow, 157 Hammersmith Road, W6 Next stop is Hammersmith where I have to report The third of the capital’s pubs referenced in that sadly, the Red Cow is slaughtered, courtesy Bitching: The Stranglers play here in 1976, but of a wrecking ball. In its place, cheerless modern they don’t get on with the publican. Bitching architecture and Thai food: even Fuller’s ale fails omits any names, abbreviating the Westbourne to tempt. But back in 1974, interior shots feature Green venue to Windsor C. Rumour is Joe Strum- heavily in Thames TV’s ‘The Sweeney’ with opening mer was inspired to write Protex Blue about the scenes from Colet Gardens; film unit offices adja- pub’s contraceptive dispenser. Not ‘when Johnny cent at Colet Court; and cast and crew christen it comes marching home…’ . their social club. In 1976, The Stranglers, The Jam and many more, cut their live teeth here. Future Pogue Shane McGowan actually loses his teeth one night after jumping off a friend’s bike outside after a 101’ers gig Dating back to the 17th century when it formed the southern end of the London to York stage coach this Irish Country & Western boozer with cow horns over the entrance, is run by a young Liverpudlian couple called Bill and Sue Rose. Entertainment includes striptease on a Friday afternoon – and a piano-playing ghost. Bands circa ’76 get between £35 and £50 a night. One cold night in January, JJ has his scarf over his mouth singing. Another time, he swaps about the lyrics so much, Dave walks offstage in disgust. The band sometimes play two sets a night, and it was here UA boss Andrew Lauder takes producer Martin Rushent to check out before finalising the record deal. Martin urges him to sign them, and two hit albums on, the press backlash starts to filter through, leading to another reason The Stranglers are written out of punk his- The Nashville, North End Road, W14 tory, according to JJ. Sounds journo Jon Savage Regan and Carter aren’t the only ones! Despite disses the second opus, and our bass man seeks a rumbling stomach, cheeseburgers here priced revenge at the Red Cow: at £6.55 fail to lure The Burning Up Times. Now “I punched his lights out right there in front of called the Famous 3 Kings, bands no longer play Jake Riviera, Andrew Lauder, , Nick at West Ken’s Nashville Rooms. All that remains Lowe – all these people saw what I did. So yeah, from years gone by is the famous glass portico – we made a lot of enemies, bless ‘em, and these the stage has gone. Jet recalls to The Burning Up people got in a lot of influential positions within the Times it being the only pub with one, and crowds music industry and literature including Tony Parsons “queued up right round the corner.” Garry and Julie Burchill. But we weren’t gonna suck up to Coward-Williams later reveals the exact spot: to these c*nts.” the right of the entrance, as you go in. The pub is put out to graze in August 1978 – and The Stranglers smash the pub’s attendance razed altogether in 1981. The New Red Cow ap- record two years after debuting here. Not only is pears in 1988 with vitally essential office space it the first time the band play in London, it’s also above but the following year, it becomes Latymers. Dave’s first gig as a Strangler. Plans to release The only surviving relic is the sign post on the ‘Live at the Nashville’ are scuppered when the pavement. As the route to the next iconic boozer recording is deemed inferior. Coincidentally – takes us down the side road, bronze-coloured Ford Rattus giveaway 45, Choosey Suzie c/w it’s FREE Granadas zoom by, with echoes of: 3, the live Nashville recording of Peasant In The ‘We’re The Sweeney – and we haven’t had our Big Shitty – is the nugget I discover in Portobello dinner.” Road before getting here.

48 Burning Up Times Issue 3

TW Studios, 211 Fulham Palace Road, W6 Alan Winstanley first samples sound engineering here after convincing the two owners of a music shop to start a recording studio in the basement. From 4-track to 8-track, TW eventually upgrades to a 24-track mixer. The Stranglers originally come here for demos in 1976, returning in January 1977 to record their de- but single. Following that, work quickly starts on their first album, with leftovers for the second and another session which became the Heroes session in July 1977. Producer Martin Rushent harnesses The Stran- glers’ raw energy. I give him a bell to see if he can recall the precise location: “Redeveloped.” He tells me. “I didn’t recognise it at all when I drove that way a while back. It was in a small parade of shops in the Fulham Palace Road. Beneath the launderette was where TW was, in the basement area. To get to it then, you went into a turning round the back which was a small, suburban road. Round the back of these shop fronts was a small car lot with about three cars or something, and a gateway through an iron fence which then took you down some steps into TW. I can’t remember the name of the road – it’s fucking thirty years ago – I just used to pull in there, park up and run in the studio. I was always fucking late.” Chas de Whalley does a feature for NME during the Heroes session, with Chris Gabrin images. It turns out it was in a state of disrepair then: “TW Studios are tucked away behind a drab shop front off London’s Fulham Palace Road. To gain entry you have to go round the side, through a used car lot and down three crumbling steps. The building looks so ramshackle it’s difficult to tell whether it’s in a state of terminal collapse or whether it’s being shored up at the eleventh hour.” Two accounts the same. All I need is a door number. I flick through jaundiced music rags from early ‘77, and there in the NME classifieds, is TW. I can’t resist calling the phone numbers – but no one’s in. Does the building still exist, I wonder? We’re here at Lillie Road and Fulham Palace Road. Once again, nervous trepidation fills the air at the prospect of coming up against a brick wall, a Tarmac car park, or a modern glass edifice coffee shop; how close was I?! Past the red brick mansion block and round the ageing parade that arcs past the lights, a fanlight above a door reads 211. Adjoining this, is a coffee shop! Café Kreme is shut. Security fencing screens out a proper view inside but I rattle the door handle all the same. To my surprise, a pair of eyes pops up. A stoic black man walks out from the shadows of the shop door. Is this the spectre of Dagenham Dave? Is he still miffed at being evicted from the Rattus sessions? With a jangle of keys, the door opens and I explain my presence. Mike, it turns out, is the proprietor. He is welcoming, and has his own story to add to the history of what was TW. After its studio life, the basement becomes a bar. “Must have been sometime in the 80s, I guess. It was very derelict.” Mike takes us round to the old entrance in the side road. A steel security gate has been added, and pad- locked. I ask Mike for a key: “I don’t have it. The owner has it – he lives in Portugal – and he’s not interested in selling or leasing.” I try calling the letting agents’ phone number on the wall, but they only deal with residential upstairs. I can’t help thinking this silver door is out of place, even for a bar, but then Mike tells the rest of the tale: “It was a speakeasy – a strip joint. The Police used it. But complaints of fights and noise from the local houses lead to them losing their alcohol licence. When the lease came up, I came to view in the 90’s. It was shut down for years. I remember the urinals were still there, and the bar optics, but the DJ booth and decks were destroyed. Must have been some party.” Mike’s plans to reopen as a bar take a swerve when he instead opts for the cheaper, empty electrical repairs shop upstairs. It’s also £6,000 a year cheaper. Spying through the gate I spot the old crumbling steps beyond, strewn with litter. The energy is still here, dormant and stifled within. You can sense the creativity inside as the silver gate dissolves to let The Stran glers go in, hopping down and scurrying inside. JJ with his steaming mug, tea bag placed in the overflowing bin. Hugh with his new guitar string liberated from the shelf in the upstairs shop. Gabrin snapping away with- his Hasselbad camera. De Whalley shorthand scribbling – and Martin Rushent, late again!

49 Burning Up Times Issue 3

The Greyhound, 175 Fulham Pal- ace Road, W6 The Greyhound neighbored the Albion Management, nightspot monopoly of the Red Cow, 12 Putney Bridge Road, SW18 the Nashville, the Clarendon and In the shadow of Young’s Brewery, for £12 the Golden Lion. In the early 70’s, per week, The Stranglers’ management were residents campaign for it’s closure, based in an upstairs office. Next door to a but a 3,000-strong signature petition Chinese takeaway, and through a haze of ensures live music status, paving the hair lacquer on the ground floor, Dai Davies, way for many including, The Stran- Derek Savage and Ian Grant forge and plot glers. Bands are history now, in it’s while publicist Alan Edwards hits the phone new form as The Puzzle Sports Bar, and chain-smokes Marlboro cigarettes. Albion helped The Stranglers crack the live circuit cartel of the Hope & Anchor, Red Cow and the Nashville – and world domination is just around the corner. Or Wandsworth, as it’s also known.

Golden Lion, 57 Fulham High Street, SW6 Dagenham Dave sees the band play for the first time in the early months of ‘76. They offer him a lift in the ice cream van after the gig – which appar- The Coleherne, 261 Old Brompton Road, SW5 ently means they like you. “I’m moving in the Coleherne with the leather all around me…” Hanging Around documents this Earl’s Court gay watering hole and the sleazy S&M scene therein. Adherence to covert codes of dress determines sexual preference, according to lore: an ear-ring in the wrong ear or a newspaper jutting out from the wrong pocket are translated accordingly. With girl- friend Choosey Suzie living close, JJ was known to enjoy a swift here, to be promptly surrounded by leather jackets and moustaches. But it’s not all fun: in 1978, this cruiser boozer is the terrifying stalking ground for the start of an incredible run of serial killers: Dennis Nilsen, Michael Lupo and Colin Ireland. Between them, they slay an incredible twenty people. So, it is with some trepidation The Burning Up Times enters the majestic- looking inn with its telling multicolour flag, erect and stiff as a board outside. Inside, tradition reigns at full mast. It’s dark and seedy. At the bar, lengthy looks come out of the shadows. I get the drinks in, and declare the need for some ‘fags’. More looks. It gets worse outside: “Who’s doing the cooking tonight out of you two then?” says one regular. “He’s the vegetarian!” I say, pointing to my colleague. With that, we head off for lunch in Fulham Broadway where Chelsea fan Owen spots Didier Drogba.

50 Burning Up Times Issue 3

100 Club, 100 Oxford Street, W1 The subterranean jazz club hosts The Stranglers Early photo shoot, Newman Court, W1 on 30th November 1976. Primo fan Dagenham The Stranglers in court – and not for the Dave clashes with the Finchley Boys in the mosh last time! This location to the rear of the and the band play on. Sex Pistols’ svengali 100 Club is also proximal to UA’s Mortimer Malcolm witnesses the carnage as he is about Street base. The band pose in similar togs to offer The Stranglers the support slot for the to the Rattus sleeve – here, tossed into the Pistols’ tour. A week later – on 6th December – air in an act of wanton abandon. Long lost The Stranglers return to the club to sign a five Metal Arts over the back is now a swanky album deal with UA worth £40,000. Meanwhile Swedish eaterie and offices. Dagenham Dave nurses a fractured skull and broken ribs quietly at his Paddington flat; the Thames beckons, and his washed up, beaten body is found near Tower Bridge that February. Immortalisation comes in the Heroes LP, Side One, track four.

Tired of Stranglers’ landmarks being consumed by multi-national outlets or car parks? Frustrated at the lack of recognition the band seem to attract, despite their obvious popu- larity in 1977- not to their mention longevity? And has there been a Stalinist revisionism of rock history as far as our men-in-black are concerned? In recent years, English Heritage have honoured rock artistes in recognition of their work by erecting a Blue Plaque at a specific locations. The Burning Up Times magazine proposes a nomination for The Stranglers. But where? You decide, download your own Blue Plaque here, and award it yourself. Send your photos to [email protected]. English Heritage use specific criteria in recognition of worthiness – details can be found here: http://www.english-heritage.org.uk/server/show/nav.1498

Thank you to Owen for his locations help and to those who kindly let me in their homes, pointed me in the right direction, or just got out of the way of my camera for the shots. Gary.

51 Burning Up Times Issue 3

A friend of mine used to book gigs for Weybridge College and he would go all Force nine gale around to find bands. He had seen a Stranglers gig in Redhill where the bass In the heady days of late ’75, whilst the Stranglers were struggling on the gig circuit, a bigger stack had packed up and according to struggle that faced them was to get any press coverage at all, let alone favourable. In the autumn him “the bass player spent the whole set singing the bass lines into the mic. It was of that year, one enthusiastic young hack at Sounds had picked up on them and had managed not just brilliant.” I knew that I had to go and only to see the band but also to get a review in print...that journalist was Chas de Whalley... see them… [Note this wasn’t as previously assumed has de Whalley, along with a couple Features Editor at Sounds. At that time I printed by the NME for 6 weeks, I finally at the ‘NOB’ gig but a different gig at the of others, gave The Stranglers good went to a lot of Pub rock gigs and Vivian got the message and went to Sounds same venue] Creviews long before their peers suggested that I could write reviews and where I was immediately put on features. jumped on the bandwagon when they had send them into the . I did The NME had stopped me writing about When and where was the first time you become well known. but nothing was printed for 6 weeks so I the Stranglers or , saw the Stranglers? Chas remained an ally, friend and tried the NME instead. Within 2 weeks I as they didn’t think they were ‘punk’, but confidante of the band until late in 1977 was in print with my review for the 101ers with Sounds I could do more or less what It was in October or November 1975 at when their mistrust of all journalists at the Hope and Anchor in August 75. I wanted. I moved to Sounds in early the Hope and Anchor. There were only came to the front. Soon after, he moved Summer 76. about 5 or 6 people in the audience, but to pastures new by becoming an A&R You seemed to concentrate on the Pub no dog! I remember that in the encores man (signing the likes of Adam and the rock scene. Was this from your own How did you first hear about the Dave strapped on a guitar and they did Ants), then a producer (including U2’s musical preference? Stranglers? first two singles) and subsequently into music publishing. He has remained within I had been a huge Pub rock fan for a the music business to this day but still has couple of years. I used to go and see fond memories for those early days. Ducks Deluxe, the Brinsleys (Schwartz) Mantheylovetohate met up with him and Kilburn and the High Roads. That’s in one of his haunts in the late 70s where where I was happiest and I understood he witnessed the band on many occasions: what the music was about. It was a pre- The Nashville. punk movement and the music was back- to-basics. It was also a reaction to the How did you first get involved in music thing. There were only journalism? a few people involved with the scene too so that made it very cool. I had a Back To I was in a band at university and I wanted Mono badge which I wore with pride! to get a job in the music business. One of my mates was ’s half Why did you move from NME to Sounds? brother. Charlie had a very important Sunday lunchtime rock show on BBC Basically the NME wouldn’t print me Radio London (which was central to the after a while. Compared to Charles Shaar pub rock scene). I contrived a meeting Murray or Nick Kent I wasn’t the greatest with him and he gave me some contacts writer in the world. But I was good at in the business. One of whom was Vivian picking up on a certain kind of new band Goldman who was then a press officer at and conveying why I thought they were but was shortly to become worth listening to. After I hadn’t been Chas de Whalley, 2008 52 Burning Up Times Issue 3

‘Fun Fun Fun’. They also did ‘Walk On I never really understood what Dave By’ and that Shadowsy ‘That Was The was about, especially when he had his Size of Her Tits’ thing. They were really dark, occult phase. Jet on the other hand interesting and had that Doorsy-thing was one of the funniest raconteurs you about them. I went up to speak to JJ could ever meet. afterwards and introduced myself saying “Hi, I’m from the NME” which usually Can you remember any details of your got most bands’ interest. JJ just looked first review of the band? at me and said “Yeah, so?” Every other band would be impressed but JJ just Not really. It was as soon as I joined wasn’t phased!!! I thought that this was Sounds in July 76. I think it was at the a different attitude, especially as this was Nashville although I can’t remember much before attitude became so important. I else. took to them and they seemed to take to me. I went to see them lots of times after What circumstances led to you writing that in all sorts of places. Whenever I the band’s first promotional leaflet for wasn’t reviewing another band, I went to Albion management? see The Stranglers. They were great. I lived near the Albion management office What were your first impressions of them? in Wandsworth and I used to go in there regularly. They needed a promotional They were up well up to standard! They leaflet to help the band get gigs. Dai knew what they were about musically as Davies asked me to write it for £10 which they’d already been gigging for a year. I they took weeks to pay me!!! On the front wanted to go and see them and I wanted was the Boston Strangler victim photo to write about them so I was obviously and on the back I wrote that they were impressed… “a mix of and the Electric Prunes that will bring the What about the individuals in the band? EXPERIENCE back to a rock gig”. This was around the time that they did some JJ and Hugh were both well-educated demos in Wales with Grip with the sax and very articulate young men. They also solo. seemed to know a thing or two about history and political theory and philosophy You seemed to be the first reviewer for and so on and invariably came up with quite a few bands that went on to great a very interesting and unusual slant on success (the Jam, Elvis Costello, XTC). whatever was going on in the wider world Was this simply a case of right place right at the time. It was fashionable to be time or a future A&R man’s nose for nihilist in those days but JJ and Hugh were talent? the genuine intellectual articles and knew what they were talking about. JJ also took A bit of both I suppose. If I could I’d go a very European perspective on things to gigs seven nights a week. Places like while Hugh was really into art house the Hope or the Nashville always put movies and stuff. So they were always on a high calibre of bands because they really stimulating company. had good bookers. You just picked up on

53 Burning Up Times Issue 3 bands which is basically what an A&R original punk and new wave bands. recording of the No talent scout does. At that time, there More Heroes album. wasn’t a good band playing London that I As you were an ally of the band from the Apart from the squalid didn’t know about. early days, I assume you never suffered conditions of TW’s any intimidation from them. Do you feel facilities, do you have In one of your earliest reviews, you were that later threats of violence or kidnap any particular memories the first to use the word ‘Punk’ relating to put some journalists off giving the band of that visit? the Stranglers. With 30 years of hindsight, critical reviews? how do you feel that the band actually I had been there with fitted in with the punk scene? Yes, of course it did! When you’re a them several times journalist, you feel you have a god given before. By that time, The Stranglers were part of that mindset. right to write anything you want to – I was on friendly They were back-to-basics and were all and then hide behind your type writer. social terms with about attitude and breaking down the old If you were confronted by Hugh or JJ both JJ and Hugh, so I order. They were also more intellectual being obnoxious, as they could be, it was persuaded them to do than the other bands around at that time. intimidating. Some people thought it was a that interview. Martin Unfortunately, because of their attitude, great PR aura to have around them. There Rushent was really they got worse press than they should have were journalists who wouldn’t talk to them helpful, as was Alan done and that resulted in them not getting or give them fair interviews. I’m not sure it Winstanley, but the half the respect that they should have did them any good, although they are still band weren’t interested. done. Historically, that is unforgivable… in existence despite all that!! Around that time, I realised that I couldn’t One of your most well-known quotes was Was the mock kidnapping of you staged be a journalist and describing the band’s music as a ‘Force for Sounds designed as a warning to their mate at the same 9 gale of bad breath’. In a later review, other journalists regarding potentially less time. I’d earlier been you coined a term ‘Sewersound’ which I favourable reviews? told by Ian Grant that, actually think is a more apt description. in future, anything I In your view, what were the attributes No, it was just a blatant ploy to get more wanted to do press that gave the band their distinctive work out of Sounds and more coverage for wise must go through sound? the band! I’d already been to Chelmsford Alan Edwards first. I prison with them. As soon as they got their started to realise my The organ and the drums. The key to the deal with UA I did a feature about what days as a journalist Stranglers’ sound was that Jet could play gear a punk band buys when they get their on the inside were the drums well. Most of the other early first advance! I was always looking for numbered… punk bands had very dodgy drummers angles to get more work and to get them editor whereas Jet gave The Stranglers a real in print. The photoplay feature thing was Although you reviewed NMH single at the time thought it was about time that groove from the start. It made them sound supposed to be a pisstake of the sort of release in Sounds, you were asked by the somebody who wasn’t a complete fan get really coherent and that they knew what things you used to see in the old Disc and band not to review the album itself as you a chance to take a view on their stuff. So they were doing. Also, Dave had that Record Mirror papers. It was loads of fun would be ‘too partisan’. Do you feel that he decided to give it to Jon Savage – who great Ray Manzarek keyboard going… If I until they decided to take it further than you were too biased to give an objective really didn’t like them…. remember he was voted Keyboard Player expected… I was crucified, debagged and review? of the Year in the Melody Maker readers’ covered in water. Your reviewing place for NMH was then poll for 1977. I think The Stranglers won I can’t really answer that. I don’t remember taken by a certain Jon Savage who’s in some other categories too. They were In the summer of 77, you were invited the band asking me not to review it. I scathing critique of the band’s album recognised as the most musical of all the to the TW studios in the middle of the think it was more that Alan Lewis, Sounds led to JJ famously taking physical action

54 Burning Up Times Issue 3

JJ “You’ll never guess completely… lyrics as a fictional character in order to who’s just walked in: make a point but couldn’t accept that The Jon Savage!” JJ replied Interestingly enough, you are one of the Stranglers were often doing exactly the “Which one is he?” as few journalists who heaped praise on same… he didn’t know him so Hugh’s guitar technique and sound on the I pointed him out. I early albums. What particularly struck Since your time as a music journalist can’t really remember you about his musicianship? you have had a very varied career in all exactly what happened different areas of the music business next. Maybe there were He didn’t just trash the guitar like other (band management, producer, music drinks thrown, I don’t people around that time. He played parts publishing, A&R and even playing in a know, but JJ certainly with melody and riffs. And he played a band). What’s the secret to your longevity ended up hitting him. Telecaster. Best guitar in the world. in the business where careers are I was very shocked. normally so short lived? I thought JJ was out You chaired a singles review in Sounds of order and I told where the Stranglers were meant to I don’t know anything else and I can’t get him so. A few days be the guest reviewers. Three of them out of it. I have tried. The only thing that later he came to my seemed to take part whereas JJ refused I can do now is write about the music house with Dennis point blank to cast judgement over other industry, rather than the bands and I’ve (Marks, Finchley peoples’ work. What did you think about been lucky enough to find outlets for Boy) and he gave me his decision? that. I am quite good at communicating the rationale of why in a coherent way and I’ve got hands on it had to be done I’d just done a similar review with Nick experience and inside knowledge. You can according to street Lowe and Rat Scabies and they threw then write in a more informed way. fighting rules but I any records they didn’t like out of the wasn’t convinced… I window! I wanted to replicate that with The band’s publicist Alan Edwards stated wrote a letter to Jon the Stranglers. They could be difficult and in a recent interview that punk has Savage to apologise they never played the press game like other influenced everything he has done in his for the situation as bands. They were the awkward squad and later life. Is this the case for you too? I thought it was a JJ was the most awkward. If he refused to shameful moment. pass judgement on other people’s work, I was never really a punk fan. I was quick Jon accepted my I’m sure he would have had an intellectual to embrace the new wave and I even came apology but he got reason. But I can’t recall what it was. up with the term ‘power pop’ to describe his own back by some of the later stuff like the Knack or totally writing the Nowadays, many of the band’s fans (& the Vapors. Punk excited me and although band out of punk even the band themselves) are annoyed I don’t really listen to it much anymore, I history in his book that the band are written out of any still play the Jam and the Stranglers – and against the reviewer. How did you feel ‘London’s Burning’! I can understand media history of the Punk scene. Do you Elvis Costello. about these events? Did you feel that JJ why he did it but, I think it’s a great feel that this is the case and if so, why do was justified in his actions? pity because the omission of what was you think that is? The punk era is normally remembered obviously one of the most successful bands fondly by those involved in it at the time. JJ was very upset by Jon Savage’s review! of that era represents a sort of Stalinist They were too successful, far more than What are your memories of the period? Shortly after the review, I was at a gig re-writing of history which is inexcusable. say the Clash were. They were too difficult with JJ at the Red Cow, to see 999, I He could have simply dismissed them as plus the misogynist thing tarred them with It was a fantastic time. I felt really think. We were standing at the bar and being not particularly important according that brush. People seemed happy that privileged. I saw The Beatles and the I noticed Jon Savage walk in. I said to to his point of view. But to ignore them Paul Weller could write and sing difficult Stones break when I was about ten – at

55 Burning Up Times Issue 3

If you’re secretly bored by what seems an endless succession of the the precise moment when I first got up the Stranglers’ world picture to me. same old musical tricks – this could be the break you’re looking for. into music – then the progressive rock “Tasted man, tasted tree, couldn’t taste the thing happened just as I started going difference!” What a great lyric! What a Book the Stranglers and guarantee that, once again, something will to gigs and then there I was working in great chorus. actually happen on rock ‘n ‘roll night. the music business just as the next big Book the Stranglers and be sure of a gig that’ll be a talking point musical movement was happening… and for weeks to come. Stranglers at the Nashville on speaking terms with all the new faces!! IT’S BEEN tried, but it’s proved impossible to A night with the Stranglers will bring back the EXPERIENCE to a rock There was an intensity that I’ll never give the Stranglers the cold shoulder. Even if the concert, and if you want proof, just consider that, after only a few experience again. Music isn’t so important Hot Rods roar in your ears, and your head is still months on London’s pub and club circuit, the Stranglers have already nowadays. For 18 months, punk and new reeling from the shock of exposure to the Sex fired the imagination of the legendary Brian Eno, while wave were incredibly important. You felt Pistols, you can’t afford to ignore The Stranglers. On stage at London’s Nashville, where I saw are sufficient interested to pay for a weeks worth of time in Wales’s that history was being made week in week newest recording complex, Foel Studios, Llanfair Caereinion. them last, they pulled no punches but hit hard out. and low, characteristically uncompromising and The Stranglers certainly play long and loud, complex and chorded. direct. They are raw, rancid and riotous, but there’s more too. The Stran- Are there any events/gigs involving the They’re not essentially a high-energy rock glers are completely Unforgettable. ‘n’ roll outfit, mind you, although they do their Stranglers that stand out? fair share of the blistering boogie. Rather they’re John Burnel (bass), Hugh Cornwell (guitar), Dave Greenfield on organ a Band on a Time , firmly locked into the and drummer Jet Black write and perform material that has all the I remember seeing them at the Red Cow early Spring of 1967 and Southern California. Punk Poise of the original Electric Prunes, the Acid Ingenuity of the a few times in late 75/early 76. There was The Stranglers owe their allegiance exclusively early Doors, tempered with the dark, Twentieth Century Gothic Horror a pool table in front of the stage then and to the bad-acid landscapes and smack dreams of of Lou Reed’s classic Velvet Underground. the early Doors, the Electric Prunes and a distinct you’d have guys playing pool while Hugh touch of New York and the Velvet Underground. And if that sounds a shade too academic for you, don’t forget that was doing his neck to School Mam behind Thus their music can be seen to strike an their successful career in the London pubs means that they can rock them. It was very funny! I also remember uneasy pose between the naively structured pop like crazy too. a gig at a Roman Catholic teacher training songs of the era and the heady raucous excesses of acid-rock. A trip to Amsterdam last February, supporting, Country Joe McDonald, college in Surrey where the Stranglers had Yet the Stranglers keep it all together had the Dutch reeling in amazement. been substituted for another band. The through sheer arrogance. Their brash super A weekly residency at Poseurs Palace, London’s Speakeasy, saw would- College people didn’t want them and Jet confidence spills over from bass player John be rock stars jarred and beaten out of their normal apathy. was arguing that they had to play as they’d Burnel’s punkish stage demeanour and the hard been booked. It was a very odd evening. drumming of anchor Jet Black, a man with strong Gigs around the South East, down the bill at clubs and colleges, has jazz schooling. Showing a cool disregard for the Battersea Park with the strippers was created the sort of interest that can only snowball into Stardom. normal tenets of good taste and public safety Burt quite a laugh. They were always quite Bacharach’s ‘Walk On By’ is treated like Hugh And all for a band, the Stranglers, who refuse to knuckle under and consistent, although there were some iffy Comwell’s ‘Down In The Sewers’ or the gloriously pander to anybody’s musical wishes but their own. gigs too. The Brunel University gig, on rude ‘Teacher’. The tune is stripped down to its barest bones Of course, some may not enjoy them. Uncompromising and unfashionable the Heroes tour, was a dodgy one. The and tenacious guitar riffs that climb haltingly up rock like theirs isn’t for the punter hooked on any non-participatory stage got invaded and it got quite ugly, the octaves like a blind man ascending a spiral spectator sport. but I still wrote it up as a big party! The staircase. But if you remember the days when, without a doubt, the appearance Roundhouse gigs were always good as Unfortunately though, the Stranglers may play as tight as almost anybody else, but of a rock band was the high point of everybody’s weekend, book the were ones here (the Nashville). ultimately they’re only as good as you, the listener, Stranglers and bring back some genuine Excitement to life. Then there was the Rainbow Theatre allow them to be. They are certainly raw, rancid The Stranglers are an Adventure. show to mark Hugh going into prison. and riotous – and if music alone is all you seek, Who Wants The World was out then – well, the odds are you’ll be disgusted. – CHAS DE Chas de Whalley although I can’t remember which of the WHALLEY. SOUNDS, July 3, 1976, page 44 All enquiries IAN GRANT at Albion 01-870-2166 guests sang it. It might have been Nicky Tesco from The Members. But that was Chas’s early flyer, 1976 always the song which most summed

56 Burning Up Times Issue 3

57